The modern art world would be a lot less entertaining without Jerry Saltz. The senior art critic for New York Magazine since 2006, Saltz is provocative, populist, and a bit of a provocateur.
By teaching himself to write, he realized “this high postmodern, late capitalism simulacra” tone embraced in publications likemade no sense to him. Instead, Saltz took a different approach, writing for the reader instead of the artist, the gallerist or the collector. And by writing what he really thought about the work, he managed to build a career that has earned him the 2018 Pulitzer Prize for criticism .
But don’t make the mistake of thinking Saltz is high on his own supply. He’s the first to say his wife,talent of the family. Together, the duo put in the effort, big time. Viewing from 25 to 30 shows per week, Saltz says, “all we do is work.” “Where you all are going to a dinner or having a drink with your friend, we have a slice of pizza on a paper plate near the gallery, and we go over our notes," he says."While you go to the after-parties, we go home and start to get ready to write. Our life is built for work, and we’re both incredibly grateful. It’s the house that crisis built — she doesn’t have degrees, I don’t have degrees. We’re making it up as we go along.”Timespromises to be as fun and readable as its predecessor.
Saltz feels that now that the ideology of straight-white-male modernism is collapsing around us, there’s more opportunity for outsiders than ever before. And, if art history is still going to be written, why not at least make yourself a footnote? “For me, the definition of success is having time to do our work, that’s all it is," he says."It isn’t about how much you sell. For me having the time to work, then working — that’s it. Success doesn’t make you happy. I get unhappy, I get envious of other people, but you don’t have to have a gigantic audience. You can have a much smaller audience and be very, very successful. You’re going to have to be brave, suck it up and get out there.
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