I love Rauschenberg. I love that he created a turning point in visual history, that he redefined the idea of beauty, that he combined painting, sculpture, photography, and everyday life with such gall, and that he was interested in, as he put it, 'the ability to conceive failure as progress.' Jerry Saltz on history
Artists working for other artists is all about knowing, learning, unlearning, initiating long-term artistic dialogues, making connections, creating covens, and getting temporary shelter from the storm. Jerry Saltz on learning
The forties, seventies, and the nineties, when money was scarce, were great periods, when the art world retracted but it was also reborn. Jerry Saltz on money
Money is something that can be measured art is not. It's all subjective. Jerry Saltz on money
Art usually only makes the news in America when the subject is money. Jerry Saltz on money
Not to say people shouldn't get rich from art. I adore the alchemy wherein artists who cast a complex spell make rich people give them their money. (Just writing it makes me cackle.) But too many artists have been making money without magic. Jerry Saltz on money
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. Jerry Saltz on money
In the seventies, a group of American artists seized the means not of production but of reproduction. They tore apart visual culture at a time of no money, no market, and no one paying attention except other artists. Vietnam and Watergate had happened everything in America was being questioned. Jerry Saltz on money
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. Jerry Saltz on money
Much good art got made while money ruled I like a lot of it, and hardship and poverty aren't virtues. The good news is that, since almost no one will be selling art, artists - especially emerging ones - won't have to think about turning out a consistent style or creating a brand. They'll be able to experiment as much as they want. Jerry Saltz on money
When money and hype recede from the art world, one thing I won't miss will be what curator Francesco Bonami calls the 'Eventocracy.' All this flashy 'art-fair art' and those highly produced space-eating spectacles and installations wow you for a minute until you move on to the next adrenaline event. Jerry Saltz on money
'Untitled' is a time machine that can transport you to 1992, an edgy moment when the art world was crumbling, money was scarce, and artists like Tiravanija were in the nascent stages of combining Happenings, performance art, John Cage, Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world was coming into being. Jerry Saltz on money
Now people look at 'The Scream' or Van Gogh's 'Irises' or a Picasso and see its new content: money. Auction houses inherently equate capital with value. Jerry Saltz on money
Art is for anyone. It just isn't for everyone. Still, over the past decade, its audience has hugely grown, and that's irked those outside the art world, who get irritated at things like incomprehensibility or money. Jerry Saltz on money
I love art dealers. In some ways, they're my favorite people in the art world. Really. I love that they put their money where their taste is, create their own aesthetic universes, support artists, employ people, and do all of this while letting us see art for free. Many are visionaries. Jerry Saltz on money
When museums are built these days, architects, directors, and trustees seem most concerned about social space: places to have parties, eat dinner, wine-and-dine donors. Sure, these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance. Jerry Saltz on money
'The Panorama' is also the last place anywhere in New York where the World Trade Center still stands, whole, as it stood in the early morning of September 11. I can also see the corner where I saw the first tower fall and howled out loud. Seeing the buildings again here is uplifting, healing. Jerry Saltz on morning
My nominee for Best Picture of the year - maybe the best picture ever, because it's essentially made up of and is an ecstatic love letter to all other movies - is Christian Marclay's endlessly enticing must-see masterpiece 'The Clock.' Jerry Saltz on movies
When people in stadiums do the Wave, it's the group-mind collective organism spontaneously organizing itself to express an emotion, pass time, and reflect the joy of seeing the rhythms of many as one, a visual rhyming or music in which everyone senses where the motion is going. Jerry Saltz on music
I've always said that an art critic can put aside politics around art. Jerry Saltz on politics