The Met is not only the finest encyclopedic museum of art in the United States it is arguably the finest anywhere.
Quote by Jerry Saltz
Click on the picture of
Jerry Saltz quote
you want to see a larger version.
Jerry Saltz Quotes
One argument goes that recessions are good for female artists because when money flies out the window, women are allowed in the house. The other claims that when money ebbs, so do prospects for women.
John Currin's exaggerated realism and his twisted women kept me off balance, never knowing if they were sincere or ironic or some new emotion.
All of Koons's best art - the encased vacuum cleaners, the stainless-steel Rabbit (the late-twentieth century's signature work of Simulationist sculpture), the amazing gleaming Balloon Dog, and the cast-iron re-creation of a Civil War mortar exhibited last month at the Armory - has simultaneously flaunted extreme realism, idealism, and fantasy.
Abstract Expressionism - the first American movement to have a worldwide influence - was remarkably short-lived: It heated up after World War II and was all but done for by 1960 (although visit any art school today and you'll find a would-be Willem de Kooning).
A sad fact of life lately at the Museum of Modern Art is that when it comes to group shows of contemporary painting from the collection, the bar has been set pretty low.
It took me twenty years to get Steven Parrino's work. From the time I first saw his art, in the mid-eighties, I almost always dismissed it as mannered, Romantic, formulaic, conceptualist-formalist heavy-metal boy-art abstraction.
Too many younger artists, critics, and curators are fetishizing the sixties, transforming the period into a deformed cult, a fantasy religion, a hip brand, and a crippling disease.
Urs Fischer specializes in making jaws drop. Cutting giant holes in gallery walls, digging a crater in Gavin Brown's gallery floor in 2007, creating amazing hyperrealist wallpaper for a group show at Tony Shafrazi: It all percolates with uncanny destructiveness, operatic uncontrollability, and barbaric sculptural power.
Just as Pollock used the drip to meld process and product, Richter 'found' and used the smudge and the blur to ravish the eye, creating works of psychic and physical power.
I also take pleasure in the so-called negative power in Grotjahn's work. That is, I love his paintings for what they are not. Unlike much art of the past decade, Grotjahn isn't simply working from a prescribed checklist of academically acceptable, curator-approved 'isms' and twists.
Rumors sound of galleries asking artists for upsized art and more of it. I've heard of photographers asked to print larger to increase the wall power and salability of their work. Everything winds up set to maximum in order to feed the beast.
I always wanted to be honest with myself and to those who have had faith in me.
The serve, I was too young and too small and... not enough powerful to have a good serve when I was young, so my forehand was always my signature shot. So I used to always run around my backhand, you know, use my forehand as much as I could, and so that's why I think it's my strength also today, you know.
I did all the right things in so many tournaments. But like I said, sometimes in sports it just goes the other way. Maybe you've already won so much that it evens it out a bit sometimes. I don't know.
I used to get nervous, you know if my parents would come watch. And then I would get nervous if my friends came and watched. Today it's not a problem anymore actually, because now I enjoy it. I see that they, you know, respect me immensely, and I try to put on a good show and show that I can still play very good tennis.
When I won in 2003, never in my wildest dreams did I ever think I would win Wimbledon and have my kids seeing me lift the trophy, so this is pretty surreal. And yeah, I was almost shocked in the moment that it all came together so nicely.
Before, I guess, mum and dad were everything, but now, in my case, I had two new girls and all of a sudden they're completely dependent on you and there's a third generation. It's a funny shift all of a sudden. You have the babies, you have yourself and then you have your parents.
My dad said if you become a tennis professional just make sure you get into the top hundred, because you have to make a little bit of money. You make a living so you can pay your coaching and, you know, your travels.
When you do something best in life, you don't really want to give that up - and for me it's tennis.
Some people are drawn naturally - there are natural guitarists, and there are natural piano players, and I think guitar implies travel, a sort of footloose gypsy existence. You grab your bag and you go to the next town.
I admit I can't shake the idea that there is virtue in suffering, that there is a sort of psychic economy, whereby if you embrace success, happiness and comfort, these things have to be paid for.
I feel like a hostage to fortune. Not that I am complaining. I wanted to play the role. But in truth I didn't think the show would be such a success. OK, I thought it would fail. Not because it was bad. I was confident it was good, but plenty of good things just sort of wither on the vine.