In the latest issue of the Brooklyn Rail, editor John Yau critiques Jerry Saltz, art critic for New York Magazine, for his portrayal of America. Saltz describes it as a place that is ‘big, bright, shiny, colorful, crowd-pleasing, heat-seeking, impeccably produced, polished, popular, expensive, and extroverted—while also being abrasive, creepily sexualized, fussy, twisted, and, let’s face it, ditzy.’ Yau questions, ‘Is this really our America? Or is Saltz merely promoting Jeff Koons?’
In his piece, ‘The Difference Between Jerry Saltz’s America and Mine,’ Yau accuses Saltz of acting as a spokesperson for Koons, suggesting Saltz’s praise is merely a reflection of Koons’ and his own self-absorption. Yau also criticizes Saltz for poorly imitating the style of Frank O’Hara, a celebrated New York critic and poet.
Saltz praises Koons by saying, ‘Koons is the emblematic artist of the decade—its thumping, thumping heart.’ He describes Koons’s art as a perfect blend of theatricality and a relentless pursuit of traditional artistic values. Saltz believes Koons’ work represents contemporary America with its vivid and extroverted nature.
In contrast, Frank O’Hara once described Jackson Pollock’s ‘Blue Poles’ as a comprehensive reflection of the American conscience, filled with sentiment yet restrained, offering a map of sensual freedom while being guarded. Yau’s favorite line from the article is about art that requires significant maintenance costs, likening it to a luxury vehicle.
