Jerry Saltz’s special request

In 1991 I was the only woman in my graduate school class, so I have an inkling of what Mia Westerlund Roosen must have felt like among this group of guys; still I find the photo shocking. It was taken at the 25th Anniversary party of Leo Castelli Gallery in 1982. Standing left – right: … read more… “Jerry Saltz’s special request”

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Holiday shopping guide: Buy art for everyone, even small children

In New York, facebooking Jerry Saltz reports that the last time money left the art world, intrepid types maxed out their credit cards and opened galleries, and a few of them have become the best in the world. Now, as money is leaving art again, history could repeat itself—especially in Bushwick and the Lower East … read more… “Holiday shopping guide: Buy art for everyone, even small children”

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The art world’s downmarket retreat

Last year, my first article published in The Brooklyn Rail examined how an impending art market “correction” might affect artists. “In a fairly typical scenario, the gallery an artist has worked diligently to cultivate, having been powered by the bull art market, doesn’t make the rent when it turns bearish. The artist is left without … read more… “The art world’s downmarket retreat”

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Why doesn’t activist art reflect our complex reality?

In New York, Jerry Saltz suggests that activist artists like Martha Rosler should stop recycling the well-worn tropes from the 1960s, move beyond the simplistic polarities of earlier political art, and begin to address our complex, contemporary reality with deeper insight and more nuance. “In the late sixties, Martha Rosler became known for a so-so … read more… “Why doesn’t activist art reflect our complex reality?”

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Wendy White: One more day

Tomorrow is the last day to see Wendy White’s show at Leo Koenig, Inc.–my apologies for not posting it sooner. White’s loud abstract language alludes to the bombardment of the everyday. Urban sprawl, space junk, graffiti, buried hazardous material, and the accumulation of refuse, punctuated by heavy black areas that map a direct trail from … read more… “Wendy White: One more day”

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Shafrazi uses two coats of paint

I’d be a negligent blogger if I didn’t applaud Jerry Saltz’s fabulous article title in this week’s New York,”Two Coats of Painting.” Saltz writes that Tony Shafrazi’s current show, “Who’s Afraid of Jasper Johns,” centers on a collaboration by the two impresario-organizers, gallerist Gavin Brown and artist Urs Fischer. “It is all about memory, morals, … read more… “Shafrazi uses two coats of paint”

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Saltz your enthusiasm

On Monday, Cara Ober attended a Jerry Saltz lecture at MICA , and has posted the highlights at Bmoreart. “More like an episode of ‘Curb Your Enthusiasm’ than a lecture on art criticism, Saltz tormented and tickled the MICA crowd with a wicked glee, mocking art students good-naturedly and, ultimately, encouraging the hell out of … read more… “Saltz your enthusiasm”

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“A No Paintings Biennial would’ve at least made everyone hysterical”

Jerry Saltz writes that the Whitney Biennial curators obviously have eyes for installation, sculpture, and video only. “There are 81 artists in this show, only seven of them painters by my count. Four of them—Olivier Mosset, Robert Bechtle, Mary Heilmann, and Karen Kilimnik—have been lauded for years. The youngest painter, Joe Bradley, 32, contributes three … read more… ““A No Paintings Biennial would’ve at least made everyone hysterical””

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Saltz: Old is gold

In New York, Jerry Saltz writes that the art market bubble has enabled long-overlooked but hard-working artists to move a little closer to the limelight. “One of the good things about the supposedly evil art boom—setting aside for the moment the notion that it may be destabilizing right now— is that underknown mid-career artists are … read more… “Saltz: Old is gold”

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Saltz asks: What’s MoMA’s problem with women?

In New York Magazine, Jerry Saltz asks why there isn’t more women’s work hanging in MoMA’s recently reshuffled permanent collection. “Not to sound like a broken record, but it has become bitterly clear that MoMA’s stubborn unwillingness to integrate more women into these galleries is not only a failure of the imagination and a moral … read more… “Saltz asks: What’s MoMA’s problem with women?”

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