Jerry Saltz is a Senior Art Critic at New York Magazine. He specializes in fine art and digital art, exploring themes of art dealing and the broader arts and entertainment landscape. Jerry has been featured in various publications, including RealClearEnergy, Curbed, Village Voice, and Vulture.
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New York, United States (Local)
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Jerry Saltz’s coverage is overwhelmingly centered on fine art, with recurring attention to galleries, major artists, and exhibition roundups. He seems most likely to respond to pitches with strong visual or critical angles tied to notable shows, artist profiles, or developments in the gallery world.
He also appears open to opinion-driven takes, so a pitch with a clear point of view about an artist, exhibition, or shift in the art market may land well if it’s sharp and well-grounded.
Given his local focus on New York, pitches should connect to the city’s art scene, institutions, or exhibitions whenever possible.
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He leaves behind a way of looking that makes the world larger, brighter, stranger, and more alive.
He leaves behind a way of looking that makes the world larger, brighter, stranger, and more alive.
The naughty, vivid, touching paintings of the late artist gave abstraction a much-needed pulse.
The naughty, vivid, touching paintings of the late artist gave abstraction a much-needed pulse.
The Infinity Rooms made Yayoi Kusama world-famous and upstaged the radical work that came before.
The Infinity Rooms made Yayoi Kusama world-famous and upstaged the radical work that came before.
The exhibits correcting historic oversights, shifting reputations, and shaking up galleries and museums.
Brancusi at MoMA, Arthur Jafa at the New Museum, Jordan Wolfson at Gagosian, and more.
The Roy Lichtenstein retrospective at the Whitney Museum is jazzy, bright, snappy, and packed to the rafters. Every Lichtenstein looks instantaneously like a Lichtenstein.
At the latest Whitney retrospective, a great artist is exactly who we remember.
