"Imagine it's 1981. You're an artist, in love with art, smitten with art history. You're also a woman, with almost no mentors to look to art history just isn't that into you. Any woman approaching art history in the early eighties was attempting to enter an almost foreign country, a restricted and exclusionary domain that spoke a private language."
"Our greatest glory is not in never falling, but in rising every time we fall."Jerry Saltz on Confucius
"The dogmas of the quiet past are inadequate to the stormy present. The occasion is piled high with difficulty, and we must rise with the occasion. As our case is new, so we must think anew and act anew."Jerry Saltz on Abraham Lincoln
"A small body of determined spirits fired by an unquenchable faith in their mission can alter the course of history."Jerry Saltz on Mahatma Gandhi
"The test of our progress is not whether we add more to the abundance of those who have much it is whether we provide enough for those who have little."Jerry Saltz on Franklin D. Roosevelt
"I like the dreams of the future better than the history of the past."Jerry Saltz on Thomas Jefferson
"Elizabeth Peyton, the artist known for tiny, dazzling portraits of radiant youth, is now painting tiny, dazzling portraits of radiant middle age."
"Probably only an art-worlder like me could assign deeper meaning to something as simple and silly as Tebowing. But, to us, anytime people repeat a stance or a little dance, alone or together, we see that it can mean something. Imagistic and unspoken language is our thing."
"There's one Baldessari work I genuinely love and would like to own, maybe because of my Midwestern roots and love of driving alone. 'The backs of all the trucks passed while driving from Los Angeles to Santa Barbara, California, Sunday, 20 January 1963' consists of a grid of 32 small color photographs depicting just what the title says."
"First let me report that the art in the Barnes Collection has never looked better. My trips to the old Barnes were always amazing, but except on the sunniest days, you could barely see the art. The building always felt pushed beyond its capacity."
"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."
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