American - Critic | February 19, 1951 -
Giant group events are distorting organisms: You can like and hate them in rapid succession.
Jerry Saltz
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Outside museums, in noisy public squares, people look at people. Inside museums, we leave that realm and enter what might be called the group-mind, getting quiet to look at art.
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Turns out Picasso's passion for uncertainty, mystery, and the thrill of life never ended.
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When I criticize Joseph Beuys or Francis Bacon, nobody calls those opinions anti-male. Putting female artists or their subject matter off-limits is itself sexist and limiting.
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Billions of photos are shot every year, and about the toughest thing a photographer can do is invent an original, deeply personal, instantly recognizable visual style. In the early nineties, Wolfgang Tillmans did just that, transforming himself into a new kind of artist-photographer of modern life.
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As I went through 'This Progress,' one of two performance pieces by Tino Sehgal that transform Frank Lloyd Wright's emptied-out spiral into a dreamy Socratic-purgatorial journey, the museum literally fell away. I was suspended in some weird nonspace.
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Although I adore the Italian High Renaissance, I'd rather look at Mannerism. The former is ordered, integrated, otherworldly, and grandiose; it leaves you feeling hungry for something flawed and of-the-flesh.
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Few contemporary artists mined the space between the ordinary and the strange better than Orozco did.
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Koons's work has always stood apart for its one-at-a-time perfection, epic theatricality, a corrupted, almost sick drive for purification, and an obsession with traditional artistic values.
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Decades ago, Gerhard Richter found a painterly philosopher's stone. Like Jackson Pollock before him, he discovered something that had been in painting all along, always overlooked or discounted.
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I like that the art world isn't regulated.
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Calling a young artist 'great' these days can give one the heebie-jeebies: The word has been denatured in the past decade.
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