The reason I love blogs so much right now is that I am seeing more critical voices appear, and that's kind of thrilling. I think a lot of critics in their forties or even their thirties have had their voice scared or trained out of them by the academy. I have nothing against the academy. I think it's brilliant and fantastic, but I also think that it's become almost monolithic. The same way a lot of art looks the same, a lot of writing can sound the same and quotes the same theorists.
Jerry SaltzMark Grotjahn's large new paintings abound with torrents of ropy impasto, laid down in thickets, cascading waves, and bundles that swell, braid around, or overlap one another.
Jerry SaltzGalleries began growing in both number and size in the late seventies, when artists who worked in lofts wanted to exhibit their work in spaces similar to the ones the art was made in.
Jerry SaltzTurns out Picasso's passion for uncertainty, mystery, and the thrill of life never ended.
Jerry SaltzI see around 100 shows a month, going from Niketown-size palaces where you feel like yelling, to storefronts in Bushwick. Each has to pay the bills; keep artists happy; and cope with collectors (oy!), curators (ay-yi-yi), critics (woo-hoo!), and occasionally plumbers. That their fiscal life often hangs in the balance only adds to the energy.
Jerry Saltz