A Quote by Jerry Saltz
While it may be a really trying, weird time for the art world, I see good work all the time. If you just go around to that many galleries, and if you stay open, you're going to see work with enough energy and surprise. I don't think I've ever gone to the galleries without coming home thinking, Gee, I now know something I didn't know this morning.
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Now there is a big turnover in the galleries. The top galleries are getting better all the time. A lot of galleries just struggle along, then a new one comes along. There are certainly a great number of galleries. I think this argues well for the art but there are, of course, a lot of "phonies" in all the arts.
Sometime when I was in my mid-twenties I noticed, "Hey, even I don't go into too many art galleries. Why? Because I don't like the vibe in them. If even I'm not going into galleries, then who goes into art galleries in the first place?" It's just a certain, very narrow percentage of the population.
I like what I see now in China, but I think the Japanese are a step ahead into craziness and weirdness. I go to galleries there that are the size of a New York elevator, and every time I'm surprised by the amazing things I find. I really hope I'll be able to promote some of these artists, to show their work in the West.
I used to live in New York, and I know a number of people who have friends who work at galleries. I spent time hanging out with them, going to openings. It was a good way to do research, to hang out and to look at the art that was present.
I'm fortunate in one respect; that I don't have a lot of work in my studio. Most of it's out, gone; either sold or in galleries. I work with a lot of galleries.
There aren't that many galleries in Havana. There are a few state galleries and an ever-increasing but still limited number of independent galleries; there's no comparison with the number in New York.
I don't have time to be going back and forth with nobody.' Even now, when I work, I'm excited to go home to see my son. If I'm working, I make sure I FaceTime so many times in the day just to see him. Anytime I get frustrated or stressed, I FaceTime my son and immediately I don't even know what stress is because I'm accepting my life. When I see him, I see me.
When I go to galleries in New York, I feel like I'm in school. I know that there's good contemporary conceptual art, but I have a really hard time caring about it. I'd rather look at images of people and things I can relate to. Then again, I didn't go to art school.
You should go to picture-galleries and museums of sculpture to be acted upon, and not to express or try to form your own perfectlyfutile opinion. It makes no difference to you or the world what you may think of any work of art. That is not the question; the point is how it affects you. The picture is the judge of your capacity, not you of its excellence; the world has long ago passed its judgment upon it, and now it is for the work to estimate you.
I love looking at vintage for inspiration; go see movies, art galleries, watch people on the street, you have to really keep your eyes open and see how you can reinterpret the old and make it modern and relevant again.
As far as my opinion on galleries, I think they are a great thing. I see them as another outlet. I'm sure by now you've figured out that I do my work for everybody to see. That's the whole point.
I didn't visit art galleries growing up. I didn't know anything about it. But at 17 I made the decision to leave home and explore. I've been using the Internet since I was 13, so I could see there was this whole world out there.
It's the first time in the history of the world that creatives are also distributors. And that's very profound if you think that up until the recent history, permission was required for us to be able to share work at any sort of scale. We had to get permission from galleries, from ad agencies or photo editors to be able to have our work out there. And now anybody with access to a computer can show their work in 200 countries around the world.
You die - and this is why manmade religions don't work for so many of us. The notion that you're dead and that's the end, and they even try to contain you in coffins. They make them out of steel and stuff. But really, your journey - for all you know - is just beginning. For all I know, what you see now is just a tiny little seed. So, I may blossom into an entire - I don't know - something in the sky. Who knows where we're going?
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
In art school, I started to see Pettibon in magazines, and I figured it out backward. I was into the idea that someone could show work in galleries while making album covers and photocopied books.
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