Jerry Saltz

Jerry Saltz: Senior Art Critic; New York Magazine. 2018 Pulitzer Prize in Criticism. Author of NYT Best Seller “How To Be an Artist.” 2-time ASME award winner.

[Jerry Saltz @jerrysaltz]

Where the hell does the expression “There a lot of ways to skin a cat” even come from?!?

[Gretchen Carlson @GretchenCarlson]

I’m begging @RepThomasMassie to go on the House floor asap & read all of the names in the #EpsteinFiles - you were a hero for survivors - you believed them & fought for them. Your actions were brave & heroic. Now pls blow the whole thing wide open. Thank you.

[Jerry Saltz @jerrysaltz]

Getting into an art fair is expensive. Find a way to get in for free. Or some discount.

One day admission to art fairs:
Frieze: $92
Independent: $ 48
NADA: $55
TEFAF: $62

[Jerry Saltz @jerrysaltz]

I think that Art Fairs should pay the gallery to participate in the same way that bands or dance companies or movie houses pay. It’s up to the art-fair to generate profits. Not the galleries paying for the fairs.

▫️▫️▫️
Of course, many galleries can make over half their annual costs by participating in these art fairs.

One day admission to art fairs:
Frieze: $92
Independent: $ 48
NADA: $55
TEFAF: $62

[Jerry Saltz @jerrysaltz]

@bruceaswanton Hah! Never change.

[Jerry Saltz @jerrysaltz]

“Robert Rauschenberg was not a giant of American art; he was THE giant. I call him the American Picasso.”
- Jerry Saltz

[Jerry Saltz @jerrysaltz]

Welcome to my Lost Art World of the 1990s. The Avant Guard that Lost by Winning so Spectacularly. It started with no money and recession which leveled the playing field. Artists and galleries - and a 40-year old art critic, moi - took the stage. There was radical experimentalism and silly Junior Post Modernists trying to just get into art history. Prices started low. Then rose. Decadence set in. Auctions soared. It marks the beginning of the End of the Era of White Aesthetics. I had only been writing for two years. I was still driving trucks. Desperate. But … I took over 40,000 slides of the period.
Including one of me sniffing from a 14-foot cocaine line.

It was life during wartime of AIDS. And the beginning of the end of The Era of White Aesthetics.

[Jerry Saltz @jerrysaltz]

I used to take naps.
I have not taken a nap or felt the need to in decades.
I forgot about them, I think.
Do you nap? What are your nap habits? What do they do for you?

[Jerry Saltz @jerrysaltz]

We are so proud to say our documentary “The House of Criticism; A Love Story” is premiering at @tribeca on Friday, June 12 at Village East Theater at Second Ave and 12th Street.
Directed by @voyeur_films Alison Chernick - who aka directed docs on Itzhak Perlman, Matthew Barney, Jeff Koons, and others.
Art saves lives. At least it saved ours.

[New York Magazine @NYMag]

Senior art critic @jerrysaltz wants you to LOOK AT THIS: "Flag" by Jasper Johns, on view in the David Geffen Wing of @MuseumModernArt.

[Alejandra Gold @alejandragold42]

Jerry Saltz, former senior art critic and columnist for New York magazine and The Village Voice, discussing the painting Flag, 1954 by Jasper Johns. 🇺🇸

He added, "Flag is a talismanic object, a philosophical machine, that is at once sensuous, gritty, "a very rotten painting," Johns called it. Meaning that there are unstable layers of material within it. It is a sentinel node unto itself, and of American art history. Art did not jump the tracks - as it finally did with Warhol. But here its engines are running super heated.”

[New York Magazine @NYMag]

Everywhere art critic @jerrysaltz went in the 1990s, he brought along his Olympus Stylus. “I would go click, click, click. I knew nothing about photography, but I went through 15 rolls of film again and again, developed them, and then put them away in storage,” he writes, for this year’s #YesteryearIssue cover story. “When I recently unearthed them, I found that, over a decade, I had made some 40,000 goddamned slides.”

[Jerry Saltz @jerrysaltz]

@elie_foube16925 I sure hope so, Elie. Thank you, Elie.

[Jerry Saltz @jerrysaltz]

Welcome to my Lost Art World of the 1990s. The Avant Guard that Lost by Winning so Spectacularly. It started with no money and recession which leveled the playing field. Artists and galleries - and a 40-year old art critic, moi - took the stage. There was radical experimentalism and silly Junior Post Modernists trying to just get into art history. Prices started low. Then rose. Decadence set in. Auctions soared. It marks the beginning of the End of the Era of White Aesthetics. I had only been writing for two years. I was still driving trucks. Desperate. But … I took over 40,000 slides of the period.
Including one of me sniffing from a 14-foot cocaine line.

It was life during wartime of AIDS. And the beginning of the end of The Era of White Aesthetics.

[Jerry Saltz @jerrysaltz]

@JoeOvelman I sure am hoping some posh publisher gets that thought. Thank you, Joe

[Jerry Saltz @jerrysaltz]

@hallegilb Thank you, Halle

[Jerry Saltz @jerrysaltz]

@cmntcakefirst Yup

[Jerry Saltz @jerrysaltz]

@a_marrast Boom 💥

[Jerry Saltz @jerrysaltz]

@Varneyco @gen_jackkeane Hah!!!

[Jerry Saltz @jerrysaltz]

Subscribe now and you come for free. Pretty please. Keep me in bloody business. 🩰🩰🩰 @nymag
Please please come to my mad lecture on “My Lost Art World of the 1990a.” This is the Avant Guard that Lost by Winning so Spectacularly.”
Come. 332 W 22rd St. SVA Theater. 7:00pm. Please!