American - Critic | February 19, 1951 -
One argument goes that recessions are good for female artists because when money flies out the window, women are allowed in the house. The other claims that when money ebbs, so do prospects for women.
Jerry Saltz
GoodWomenMoneyWindowHouseOut
Poor Georgia O'Keeffe. Death didn't soften the opinions of the art world toward her paintings.
ArtDeathWorldOpinionsPoorHer
The art gods cooked up something special for James Ensor.
ArtSpecialUpSomethingGodsJames
I'm not for or against video - or any medium or style, for that matter.
StyleMatterAgainstVideoMedium
After its hothouse incubation in the seventies, appropriation breathed important new life into art. This life flowered spectacularly over the decades - even if it's now close to aesthetic kudzu.
LifeArtAestheticNew LifeNewNow
In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened; everything in America was being questioned.
TimeCultureMoneyAmericanAmerica
The New York art world readily proves people wrong. Just when folks say that things stink and flibbertigibbet critics wish the worst on us all because we're not pure enough, good omens appear.
GoodArtNew YorkPeopleWorldWish
Artistic qualities that once seemed undeniable don't seem so now. Sometimes these fluctuations are only fickleness of taste, momentary glitches in an artist's work, or an artist getting ahead of his audience (it took me ten years to catch up to Albert Oehlen). Other times, however, these problems mean there's something wrong with the art.
WorkArtMeProblemsArtistWrong
Can space break? I mean the space of art galleries. Over the past 100 years, art galleries have gone from looking like Beaux Arts salons to simple storefronts to industrial lofts to the gleaming giant white cubes of Chelsea with their shiny concrete floors.
ArtSimplePastSpaceLookingWhite
It's great that New York has large spaces for art. But the enormous immaculate box has become a dated, even oppressive place. Many of these spaces were designed for sprawling installations, large paintings, and the Relational Aesthetics work of the past fifteen years.
WorkGreatArtPastNew YorkPlace
The giant white cube is now impeding rather than enhancing the rhythms of art. It preprograms a viewer's journey, shifts the emphasis from process to product, and lacks individuality and openness. It's not that art should be seen only in rutty bombed-out environments, but it should seem alive.
JourneyArtProcessWhiteAliveNow
Galleries needn't be exactly like White Columns purely because times are bad again. But the idea of this special space could - should - help shape what comes next.
SpaceHelpBadWhiteSpecialShape
Copyright © 2024 QuotesDict Jerry Saltz quotes