A Quote by Jerry Saltz
I'm noticing a new approach to art making in recent museum and gallery shows. It flickered into focus at the New Museum's 'Younger Than Jesus' last year and ran through the Whitney Biennial, and I'm seeing it blossom and bear fruit at 'Greater New York,' MoMA P.S. 1's twice-a-decade extravaganza of emerging local talent.
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'Summer of Love: Art of the Psychedelic Era,' the Whitney Museum's 40th-anniversary trip down counterculture memory lane, provides moments of buzzy fun, but it'll leave you only comfortably numb. For starters, it may be the whitest, straightest, most conservative show seen in a New York museum since psychedelia was new.
I never can pass by the Metropolitan Museum of Art in New York without thinking of it not as a gallery of living portraits but as a cemetery of tax-deductible wealth.
To have a museum like the Museum of Modern Art in New York is to have power. I don't have any interest in being the director of an institution that has power.
I have a passion for modern and contemporary art. I spend a lot of time in museums; I particularly like the Guggenheim, MoMA in New York or LACMA and the Getty Museum in Los Angeles, for example. I cannot wait for the Louis Vuitton Foundation to open.
I moved to New York in the 1970s and started writing when I was at the Whitney Museum Independent Study Program.
When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.
My education in the arts began at the Cleveland Museum of Art. As a Cleveland child, I visited the museum's halls and corridors, gallery spaces and shows, over and over. For me, the Cleveland Museum was a school of my very own - the place where my eyes opened, my tastes developed, my ideas about beauty and creativity grew.
In New York, Catholic groups have forced an art gallery to shut down an exhibition of a six-foot image of Jesus in chocolate. So, the Archbishop of New York was very upset. He said, 'It is appalling to make Jesus out of food! Now, if you'll excuse me, I have to go bake some communion wafers.'
Now almost every artist outside of New York is connected with some school or some museum school, and even in New York the majority are. That's an interesting fact when you take the idea of making money, making a living selling paintings. Only a dozen or two painters do that.
I'd love to open a private museum in Paris, London, or New York, but I don't have the money. If I were Bill Gates or Paul Allen, the first thing I would do is build a museum.
A new year is upon us, with new duties, new conflicts, new trials, and new opportunities. Start on the journey with Jesus--to walk with Him, to work for Him, and to win souls to Him. The last year of the century, it may be the last of our lives! A happy year will it be to those who, through every path of trial, or up every hill of difficulty, or over every sunny height,, march on in closest fellowship with Jesus, and who will determine that, come what may, they have Christ every day.
The reason these paintings are destined for New York is not because I am disappointed about a lack of German interest, but because MoMA asked me, and because I consider it to be the best museum in the world.
When I'm in New York, my favorite place on the planet is the Metropolitan Museum of Art.
If I can't be fishing or hunting, I want to be in the Museum of Modern Art in New York.
Fashion went from being much more rarefied to being more accessible. Now everything is changing in the art world, too: even the highest level of institutions are becoming more aware of the general public, like the McQueen exhibit at the Metropolitan or the Tim Burton at the MoMA or how the Gagosian does historic Picasso shows, bringing museum quality into a gallery. Galleries are becoming more like museums, and museums are becoming more accessible. In the next decade, I think it'll be blown open: there will be a lot of shifting around in terms of how artists approach their work.
I found so much fun in the light shows and the multimedia shows of the hippies. That was when I was a student in the 1960s, and I was in New York, so I learned how to deal with writing, recording sound of other people, performance art - because that was a new territory, and I liked everything that was new and provocative. That interested me more than becoming anything specific.
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