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.
Jerry Saltz
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Human rights are women's rights, and women's rights are human rights. -
I write for those women who do not speak, for those who do not have a voice because they were so terrified, because we are taught to respect fear more than ourselves. We've been taught that silence would save us, but it won't. -
I love women, but I feel like you can't trust some of them. Some of them are liars, you know? Like I was in the park and I met this girl, she was cute and she had a dog. And I went up to her, we started talking. She told me her dog's name. Then I said, 'Does he bite?' She said, 'No.' And I said, 'Oh yeah? Then how does he eat?' Liar. -
I think all of us as women have this super-human quality. We create life, we give life, we are the sources of life for our children - we're all pretty bionic. -
Women's issues have always been a part of my life.
More quotes by Jerry Saltz
- 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.