Jerry Saltz
Full Name and Common Aliases
Full Name: Jerry Saltz
Common Aliases: None
Birth and Death Dates
Birth Date: February 19, 1951
Death Date: N/A
Nationality and Profession(s)
Nationality: American
Profession(s): Art Critic, Writer
Early Life and Background
Jerry Saltz was born on February 19, 1951, in Oak Park, Illinois, a suburb of Chicago. Raised in a Jewish family, Saltz's early life was marked by a deep curiosity and a passion for the arts, although he did not initially pursue a career in this field. He attended the School of the Art Institute of Chicago but left before completing his degree. Saltz's early career was diverse, including stints as a long-haul truck driver, which provided him with a unique perspective on American culture and society. This eclectic background would later inform his distinctive voice as an art critic.
Major Accomplishments
Jerry Saltz is best known for his role as a senior art critic and columnist for New York Magazine, a position he has held since 2007. Prior to this, he was the senior art critic for The Village Voice from 1998 to 2007. Saltz's work has been recognized with numerous accolades, most notably the Pulitzer Prize for Criticism in 2018. This prestigious award was a testament to his insightful, accessible, and often humorous critiques that have made contemporary art more approachable to the general public.
Notable Works or Actions
Saltz's writing is characterized by its clarity, wit, and ability to demystify the often esoteric world of contemporary art. He has a talent for engaging readers with his candid and sometimes provocative opinions. One of his most notable works is his essay "My Life as a Failed Artist," where he candidly discusses his own artistic ambitions and failures, providing a rare glimpse into the personal experiences that shape his critical perspective. Additionally, Saltz is known for his active presence on social media, particularly Instagram, where he shares his thoughts on art and engages with a broad audience, further expanding his influence beyond traditional media.
Impact and Legacy
Jerry Saltz has had a profound impact on the field of art criticism. His approachable style and willingness to engage with both the art world and the public have helped bridge the gap between artists, critics, and audiences. Saltz's critiques often challenge the status quo, encouraging both artists and viewers to reconsider their perceptions of art. His influence extends beyond his written work; as a public figure, he has become a prominent voice in discussions about the role of art in society, the art market, and the challenges facing contemporary artists.
Why They Are Widely Quoted or Remembered
Jerry Saltz is widely quoted and remembered for his ability to articulate complex ideas about art in a way that is both insightful and accessible. His critiques often resonate with readers because they are grounded in a genuine passion for art and a desire to make it more inclusive. Saltz's quotes are frequently shared for their humor, honesty, and the way they capture the essence of the art world. His influence as a critic is not only due to his expertise but also his ability to connect with a diverse audience, making him a beloved and respected figure in the art community.
In summary, Jerry Saltz's contributions to art criticism have left an indelible mark on the field. His unique voice, combined with his commitment to making art accessible to all, ensures that he will be remembered as one of the most influential art critics of his time.
Quotes by Jerry Saltz
Jerry Saltz's insights on:
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.
The art world is molting – some would say melting. Galleries are closing; museums are scaling back.
Those who love him love that he sells the most art; they take it as a point of faith that this proves Kinkade is the best. But his fans don’t only rely on this supply-and-demand justification. They go back to values.
New York being what it is, our museums are vertical, not horizontal. That means the stumbling blocks to architectural clarity are unavoidable – but certainly surmountable.
Chris Ofili’s suave, stippled, visually tricked-out paintings of the nineties, with their allover fields of shimmering dots and clumps of dung, are like cave paintings of modern life. They crackle with optical cockiness, love, and massive amounts of painterly mojo.
I don’t often go to curator or artist walk-throughs of exhibitions. For a critic, it feels like cheating. I want to see shows with my own eyes, making my own mistakes, viewing exhibitions the way most of their audience sees them.
The greatest work of art about New York? The question seems nebulous. The city’s magic and majesty are distilled in the photographs of Alfred Stieglitz and Paul Strand.
More and more in the art world are becoming moralistic, telling artists and critics what they should and shouldn’t write, do, or make art about. Never mind the intellectual hypocrisy of this: Those who violate the clublike code are made out to be wrong, immoral, corrupt.
It’s art that pushes against psychological and social expectations, that tries to transform decay into something generative, that is replicative in a baroque way, that isn’t about progress, and wants to – as Walt Whitman put it – ‘contain multitudes.’