The New York Art World Readily Proves

Art Schools Are Partly The Villain Here. (never Mind That I Teach In Them.) This Generation Of Artists Is The First To Have Been So Widely Credentialed, And Its Young Members So Fetishize The Work Beloved By Their Teachers That Their Work Ceases To Talk About Anything Else. Instead Of Enlarging Our View Of Being Human, It Contains Safe Rehashing Of Received Ideas About Received Ideas. This Is A Melancholy Romance With Artistic Ruins, Homesickness For A Bygone Era. This Yearning May Be Earnest, But It Stunts Their Work, And By Turn The Broader Culture.

Any Negative Review You Write, They'll Say, "oh, You're Being So Mean." I Think The Problem With A Lot Of Criticism Is That Too Many Critics Either Write Just Description Or They Write In A Mandarin Jargon That Only A Handful Of People Can Understand, Or They Write Happy Criticis - Everything Is Good That They Write About. I Think That's Really Not Good. I Think It's Damaged A Lot Of Our Critical Voices.

Art Usually Only Makes The News In America When The Subject Is Money.

I Also Take Pleasure In The So-called Negative Power In Grotjahn's Work. That Is, I Love His Paintings For What They Are Not. Unlike Much Art Of The Past Decade, Grotjahn Isn't Simply Working From A Prescribed Checklist Of Academically Acceptable, Curator-approved 'isms' And Twists.

The Metropolitan Museum Of Art Is Unsurpassed At Presenting More Than 50 Centuries Of Work. I Go There Constantly, Seeing Things Over And Over, Better Than I've Ever Seen Them Before.