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Jerry Saltz is an American art critic. Since 2006, he has been senior art critic and columnist for New York magazine. Formerly the senior art critic for The Village Voice, he has been nominated for the Pulitzer Prize in Criticism three times. He has also contributed to Art in America, Flash Art International, Frieze, Modern Painters, among various other art publications.[1] Saltz served as a visiting critic at The School of Visual Arts, Columbia University, Yale University, and The School of the Art Institute of Chicago and the New York Studio Residency Program, and was the sole advisor for the 1995 Whitney Biennial. He lives in New York City with his wife Roberta Smith, senior art critic for the New York Times.

✵ 19. únor 1951
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“I'm looking for what the artist is trying to say and what he or she is actually saying, what the work reveals about society and the timeless conditions of being alive.”

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Jerry Saltz

Zdroj: Thornton, Sarah. Seven Days in the Art World. New York: W. W. Norton & Company. 2008. p. 174–75 : Saltz on his approach to criticism

“You can't prove Rembrandt is better than Norman Rockwell - although if you actually do prefer Rockwell, I'd say you were shunning complexity, were secretly conservative, and hadn't really looked at either painter's work. Taste is a blood sport.”

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Jerry Saltz

Zdroj: " Has Money Ruined Art? http://nymag.com/arts/art/season2007/38981/," nymag.com, 2007

“After 1909, Monet drastically enlarged his brushstrokes, disintegrated his images, and broke through the taming constraints and delicacy of Impressionism for good. Nineteen gnarly paintings, starting in 1909 and carrying through his final seventeen years, finish off the notion that Monet went happily ever after into lily-land.”

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Jerry Saltz

In New York http://books.google.co.in/books?id=aEUfAQAAMAAJ Volume 43, Issues 14-21, New York Magazine Company, 2010, p. 1

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