There’s something pleasing about large, well-lit spaces. I love that dealers are willing to take massive chances in order to give this much room to their artists. Most of all, I love that more galleries showing more art gives more artists a shot.
Works of art often last forever, or nearly so. But exhibitions themselves, especially gallery exhibitions, are like flowers; they bloom and then they die, then exist only as memories, or pressed in magazines and books.
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You can’t prove Rembrandt is better than Norman Rockwell – although if you actually do prefer Rockwell, I’d say you were shunning complexity, were secretly conservative, and hadn’t really looked at either painter’s work. Taste is a blood sport.
While a large segment of the art world has obsessed over a tiny number of stars and their prices, an aesthetic shift has been occurring. It’s not a movement – movements are more sure of themselves. It’s a change of mood or expectation, a desire for art to be more than showy effects, big numbers, and gamesmanship.
Jerry Saltz was born in Illinois, USA. He is an American art critic. Since 2006, he has been senior art critic and columnist for New York magazine. Formerly the senior art critic for The Village Voice, he has been nominated for the Pulitzer Prize in Criticism three times. He has also contributed to Art in America, Flash Art International, Frieze, Modern Painters, among various other art publications. He served as a visiting critic at The School of Visual Arts, Columbia University, Yale University, and The School of the Art Institute of Chicago. He served as a judge in the Bravo television series Work of Art: The Next Great Artist. He has written several books include: Beyond Boundaries (with Roberta Smith), Seeing Out Loud, Seeing Out Louder, Contemporary Art in North America (with Ken Lum).
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