{"id":100561,"date":"2016-09-19T13:00:26","date_gmt":"2016-09-19T17:00:26","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=100561"},"modified":"2016-09-19T14:45:18","modified_gmt":"2016-09-19T18:45:18","slug":"quotable-david-salle","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2016\/09\/19\/quotable-david-salle\/","title":{"rendered":"The Quotable David Salle"},"content":{"rendered":"
\"Dana<\/a>

Dana Schutz, Frank as a Proboscis Monkey<\/i> (detail), 2002, 36″ x 32″.<\/p><\/div>\n

Recently, thanks to heavy wait times at the twenty-four-hour Genius Bar on Fifth Avenue, I found myself killing an evening at the Plaza with nothing to read but the galleys of a\u00a0book\u00a0of art criticism, How to See<\/a><\/em>, by the painter David Salle.\u00a0It turned out to be perfect\u00a0company\u2014witty, chatty, intimate, sharp. And slightly exotic (at least for this reader): you rarely\u00a0see novelists write so knowingly, on a serious\u00a0first-name basis,\u00a0about each other\u2019s work.\u00a0Soon I was dog-earing and drawing lines in the margins next to favorite passages, as for example:<\/p>\n

On recent paintings by Alex Katz:<\/p>\n

\n

Some of the color has the elegance and unexpectedness of Italian fashion design: teal blue with brown, black with blue and cream. You want to look at, wear, and eat them all at the same time.<\/p>\n<\/blockquote>\n

<\/p>\n

On Dana Schutz:<\/p>\n

\n

She\u2019s especially adept at handling a range of greens that aren\u2019t found in nature but are often used to describe it, and she has a no-nonsense, unfussy way of building images that used to be called plasticity. The scale of her brushstrokes is almost always right\u2014the marks suit what they describe, and gesture is most often harnessed to the painting\u2019s internal architecture, not just surface decoration.<\/p>\n<\/blockquote>\n

On Roy Lichtenstein:<\/p>\n

\n

It may look as though a painting, especially one as tidy as Roy\u2019s, is the result of a set of decisions, but those decisions are in fact made at the end of a brush.<\/p>\n<\/blockquote>\n

On Jeffrey Koons:<\/p>\n

\n

If abstract painting expresses the idea \u201cYou are what you do,\u201d and pop art expresses the idea \u201cYou are what you like,\u201d then Koons\u2019s art says, \u201cYou are what other people like.\u201d<\/p>\n<\/blockquote>\n

On John Baldessari:<\/p>\n

\n

At least three generations of artists have had themselves photographed doing dumb stuff in banal settings. This is largely John\u2019s fault. What the aesthetic embedded in John\u2019s work accomplished was to give the everyday-Joe artist a way to embrace and lavish a little love on the everyday-Joe visual culture that is all around us, especially if one is stuck in the provinces and doesn\u2019t really have access to the ethos or the rationale of a more highbrow style.<\/p>\n<\/blockquote>\n

On Jack Goldstein\u2019s films:<\/p>\n

\n

It\u2019s like walking through dried leaves on a chilly fall day\u2014you keep your hands in your pockets, kicking leaves into the gutter, all the while hoping someone will see and feel sorry for you. The self-consciousness of the act doesn\u2019t necessarily diminish its poetry.<\/p>\n<\/blockquote>\n

On Andr\u00e9 Derain:<\/p>\n

\n

Continuity is the dialogue a painter carries on with himself in the guise of his precursors. It\u2019s what stays left after the novelty burns down.<\/p>\n<\/blockquote>\n

On Francis Picabia (\u201cc\u2019est moi\u201d):<\/p>\n

\n

When Picabia turned his hand to realism\u2014basically a system in which volumetric form is defined by contrasts of light and shadow\u2014he kept his penchant for outlining as a kind of graphic stimulation, and the mash-up of volume plus outline gives the paintings of the \u201930s and \u201940s a brazen, provocative feeling … The work is so undefended\u2014<\/i>it was exhilarating.<\/p>\n<\/blockquote>\n

On Anish Kapoor\u2019s Cloud Gate<\/em>:<\/p>\n

\n

It\u2019s a giant baby toy, something that would be suspended over a crib, like a silver teething ring (from Tiffany\u2019s!) or baby\u2019s rattle. People have compared it to a UFO, but that doesn\u2019t strike me as right\u2014it\u2019s from before<\/i> there were UFOs. Baby doesn\u2019t know about UFOs yet\u2014baby just wants to grab shiny bean.<\/p>\n<\/blockquote>\n

On CalArts in the \u201970s:<\/p>\n

\n

One guy asked for $3000\u2014a lot of money at the time\u2014so that he could take a television and a generation up to a remote mountaintop, where he planned to watch reruns of The Beverly Hillbillies, and then blast the TV screen with a twelve-gauge shotgun. We gave him $300 with the suggestion that he check into the worst fleabag hotel in downtown Los Angeles, and shoot out the television screen in his room with a BB gun. Sometimes less is more.<\/p>\n<\/blockquote>\n

On boredom:<\/p>\n

\n

Boredom is what happens when the truth about something can\u2019t be told.<\/p>\n<\/blockquote>\n

David Salle\u2019s paintings are in the permanent collections of the Museum of Modern Art, the Whitney Museum of American Art, the Guggenheim Museum, the Metropolitan Museum of Art, the National Gallery in Washington, D.C., the Los Angeles County Art Museum, Tate Modern, the National Galerie Berlin, and many others. He lives in New York City.\u00a0<\/em>How to See<\/a>\u00a0will be released by W. W. Norton in October.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Recently, thanks to heavy wait times at the twenty-four-hour Genius Bar on Fifth Avenue, I found myself killing an evening at the Plaza with nothing to read but the galleys of a\u00a0book\u00a0of art criticism, How to See, by the painter David Salle.\u00a0It turned out to be perfect\u00a0company\u2014witty, chatty, intimate, sharp. And slightly exotic (at least […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[9527,23330,35,13887,23334,13878,1906,23327,23332,775,23328,1531,23337,23336,1586,79,22323,23331,14690,23325,9790,23329,6416,1532,504,456,81,3231,124,23333,67,1339,8688,17080,23335,23326,75],"class_list":["post-100561","post","type-post","status-publish","format-standard","hentry","category-arts-culture","tag-alex-katz","tag-andre-derain","tag-art","tag-art-books","tag-art-world","tag-arts-and-culture","tag-book","tag-books-about-art","tag-calarts","tag-california","tag-dana-schutz","tag-david-salle","tag-dialogues","tag-editor-of-the-paris-review","tag-fifth-avenue","tag-film","tag-fine-art","tag-francis-picabia","tag-genius-bar","tag-how-to-see","tag-inspiration","tag-jack-goldstein","tag-jeff-koons","tag-john-baldessari","tag-literature","tag-lorin-stein","tag-movies","tag-museum-of-modern-art","tag-new-york","tag-new-york-culture","tag-painting","tag-paris-review","tag-quotes","tag-roy-lichtenstein","tag-the-plaza","tag-w-w-norton","tag-writing"],"acf":[],"yoast_head":"\nThe 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