Live Virtual Scholl Lecture Series: Jerry Saltz

Good evening everyone and welcome to the virtual Perez Art Museum Miami my name is Marie Vickles and I'm the director of education tonight we are presenting an online version of our show lecture series which is made possible thanks to a generous gift from Dennis and Deborah Scholl thank you so much our mission at Pam is to encourage everyone to see art as an incentive for genuine human interaction communication and exchange and during this pandemic that is affecting all of us in so many difficult ways we will only get through this together I hope all of you joining us in this digital space tonight are doing well and that this evenings program brings some joy into your life a few acknowledgments before we get started I would like to thank the incredible team of people that worked so hard to make our education programs comes together both at the museum and now online it is a heavy list and while there are so many people to thank I would like to specifically acknowledge Anita Bram associate director of adult programs and audience engagement Claire Allen digital marketing coordinator and our world-class team of Av Denise faxes and Andrew bird we could not do this without you thank you so much so let's get started this evening's program we are joined by former long-distance truck driver self-proclaimed failed artist and America's most energetic and Pulitzer Prize winning art critic mr. Jerry Saltz who will be joined in conversation with Pam's very own director Franklin sermons they will discuss our current state of affairs life in the art world and of course Jerry Ray's newly released book how to be an artist as described in his own words as 33 rules to take you from clueless amateur to generational talent or at least help you live life a little more creatively a bit about these two compelling people Jerry Saltz is the senior art critic at New York Magazine and its online entertainment side vulture he is the winner of the 2019 National Magazine Award and a 2018 surprise winner in criticism before joining New York magazine in 2007 Salt's had been an art critic for the Village Voice since 1998 and was twice nominated for the Pulitzer Prize during his tenure there a frequent guest lecturer he has spoke at the Museum of Modern Art the Guggenheim the Whitney Museum and many others he has also appeared at Harvard Yale Columbia and the Rhode Island School of Design Franklin's sermons is an American art critic editor writer curator and has been the director of the Pettis Art Museum Miami since 2015 sermons established himself as one of the leading voices in contemporary art and joined Pam from his previous post at the last Los Angeles Los Angeles County Museum of Art LACMA where he served as department head and curator of contemporary art he was the artistic director of the 2014 Prospect New Orleans biennial exhibition P 3 notes for now and he organized exhibitions that originated at the Menil collection and exhibitions which have travelled to MoMA ps1 and our very own Miami Art Museum he continues to write and edit for numerous artists and exhibition catalogues making a compelling impact on the world of Contemporary Art during the course of this evening's conversation don't forget to hashtag Museum from home with us and participate in our Q&A as we will be taking questions that are posted on our AG live and Facebook live platforms so without further ado please join me in welcoming Jerry Saltz and Franklin Simons can you all see me I can't see you this is Jerry Saltz senior art critic for New York Magazine and I'm thrilled to be here in this most strange world non world and it is really great that we never never stop touching antenna you know even though there might just be digital antenna I can feel you can feel me we don't know what we're feeling I just wanted to say a few words of super thanks to the the Perez Art Museum in Miami I was supposed to be there in the flesh I guess today and this is just as good we're all learning on the fly what works and what doesn't work so hats off to Miami hats off to this amazing museum I want to talk about where we are right now okay very simply viruses come but viruses go art is long there's the old expression ARS longa vita brevis art is long life is short creativity was with us in the caves my lungs it's in every single bone in your body Darwin talked about not survival of the strongest or the fittest he spent the whole half second half of his life tried to clarify what amounted to one bad tweet where people misunderstood what he said about survival he wanted you to understand and that we must understand right now that it is survival by those who adapt who adapt the most who adapt the best to adapt the fastest who adapt to change now as we all know change a change is common but one that's been coming a long long time and now it's here we have always known this was going to come but not quite this art happens too and creativity loves thrives under exactly these conditions that are being imposed on every person listening to this Lao me I'm sitting in a little office with like white pieces of plastic in my hair ear screaming at my computer right now in the middle of the night art thrives in the perfect storm of being under pressure check it's being done in smaller spaces check and more intimate surroundings right now all of you are making something have made something or procrastinating something very bad we're going to talk about that I'm talking to you about that I procrastinate anyway all of us are making things right now these smaller spaces not big studios with 45 people working and a giant staff all of that is fallen by the wayside you are working with the kids say next to you Nana is in the background kind of making food somebody is over there like in a workshop right now what you're seeing is the way 99% of everything that's ever been made by our species were made they were it was made under just these conditions where the studio the kitchen the temple the workshop the playroom the bedroom everything was one room where the pharmacy and the kitchen and the studio were one place where under pressure adapted we start to create this is what we are programmed for as far as our art world we can never wish it to die it's a very beautiful thing this organism it's a hundred percent all-volunteer army if you don't want to be in this army really you don't have to be here I don't wish anything bad to happen to it but we all have known for a long time that the infrastructure of the art world has been very top-heavy very damaged that the hyperactivity people thinking nothing of getting on a plane flying to London say for a museum opening and then flying back to New York the same day having gone to an Art Fair rather instead or whatever this had become normal you see and in many ways it's not normal it was something else we had the Death Star's and I loved a lot of these galleries I've never missed a show and Larry Gagosian who else is going to do those late Picasso shows the Franklin sermons would love to do but you can't afford that in Miami Larry just goes of the show will sell one painting and they do it and it works but the mega galleries good and bad were obviously feeding on fattening the calves all below them and we're wiping out the middle it took artists to want that so it's not like it's anybody's fault meanwhile the 99% of us the somehow survived in this art world and love being in this art world because we get to complain about it and boy do i look forward to a time in the future where we can get together and then attack each other again it'll be so fun the 99% of us are like just scrapping to get by all the time you were Museum in Miami is scrapping what will it be like in 18 months will you go to a museum and what happens if somebody coughs next year will they be like restaurants that will be forced to work at only half occupancy will we have our temperatures taken before we come in what happens if you come in with a bunch of kids that just came back from a different country right we don't know David Chang the great chef predicted that 90 percent of all restaurants will not reopen again and it's hard to imagine how certain performing arts centers will survive because they usually only have about a month capacity for extra money right now is a time where it's good that we get together it's good that we're looking at each other and trying to be ourselves because we are ourselves and we are working all this time and the things that you all do and I'm going to wrap this stupid thing up the things that we you are all doing right now in this time which will pass you will take forward with you through the rest of your lives they will even if we forget this the way the Roaring Twenties followed the 1918-19 pandemic or after 2001 and 2008 America only became more of what it already was we had the bush-cheney war machine and then Flint Michigan and then the rest whatever happens you are all taking that forward and I want to tell you something the tons are being passed right now right now I come from a bygone world I come from a world that had an underground right where well I will get into it later you are going to be tasked with building a new world and I promise you you will do a great job it's actually really easy all it is is staying a very late with each other every single night for the rest of your lives and you're gonna build a beautiful language so if I'm gonna stop rambling thank you all for being here and I met Franklin swimmin to take over because he really is one of the greatest curators in the world and I'm sort of intimidated and thrilled to be with you Franklin so thank you thank you thank you yes you and this is my double gold yes I'm still sucking one back late at night I'm sorry oh my god I thought you only did that in the morning sorry thank you so much thank you for doing this with us I know we talked about being here in Miami in person and you know you hung in there with us thanks for being online with us this evening thanks for sharing you know all of your work and I want to talk about a little bit of your work you started us off perfectly in this moment and it kind of lines up with your most recent essay in New York Magazine and it does a good job of I think identifying the kind of uncertainty that we all feel as a museum director in this moment we all know that we are thinking about the future but with an eye of a great degree of uncertainty that we just can't understand what is gonna happen and I think this is a really pregnant place to be I know that as as a you know young thinker I mean when I first started reading you in the 80s I wondered would I ever be part of a moment that was so climactic or so consequential to everybody's life around us that we were gonna make our mark and if anything this is an opportunity for us to make our mark so thank you for from saying that for for giving us a taste of your most recent piece now one of the things you did mention in tip number 37 of your book you say make art for now not the future how how do we proceed from that point and I want to go back a little bit further but just to begin there I please go ahead no just gonna say with that idea of being within the moment you've given us a little bit of a taste of the possibilities and I'm just wondering from your point of view as a critic what is what is art for now okay art is one of the most advanced operating systems that our species has ever evolved I mean it's insane if you think about it that a system that was invented we now think before human beings there's a lot of evidence of Neanderthal material culture and trade baskets vessels to carry things where they not only made hand stone axes eight hundred thousand years ago to do that they painted the edges of them now that didn't help anything except my ax would look much cooler than yours if I could get a good color ochre and you were still using last year's raw Sienna this is an old operating system in place that allows it's the most advanced operating system our species has ever developed to explore consciousness to explore that which cannot be seen as well as explore that which we think we see projecting the future the past telling stories in a way that lasts there was dance you can bet somebody you had an official person to hum a song another person with very good at painting themselves this person made great jewelry but all that's gone this was a brand new system that rendered in two dimensions the either three-dimensional world or the no dimensional world art will disappear when all the problems it was invented to solve are solved when I said in that one short paragraph make art for now what I mean is I get really annoyed at the bullshit particularly mail the thing of God I will be discovered in the future they may not know my genius now but they will and I would say get in the goddamn conversation now you are an artist at this time and no other time you won't even know if you rediscovered because you're dead so I being an artist in the now means don't worry if suddenly you've been painting flowers or stripes are building rectangles or videotapes of whatever some country all that's fine the content of this moment is embedding itself incredibly deeply in you right now you have to remember that in the middle of the pandemic of 1918 nineteen some of the greatest you know synthetic cubism was made but it's there a new tension a new world appears so being an artist in this moment means a lot to me and I think that's really all there is and one other thing Franklin I want to tell all of our listeners and viewers that all are is contemporary art when I look at a cave painting yeah it's me now I'm reenacting it reinventing it it's been waiting for me for forty-five thousand years so everybody just get to work make a boring triangle how boring I mean make bad art today what else you gonna do one of the things I love about the title of the book is that I believe that you could substitute artists you could say how to be a better human being you could say how to be a collector it leaves in so many different directions just to give us a little taste how did you become an art critic oh god I'm gonna keep this one short that's a good question Franklin he knows a little of the horrific story yes I began as an artist you want to see a failed artist you're looking at one I listened to the demons that you all listen to same ones I heard them this morning when I sat down to write this goddamn thing I'm writing now and they said the same thing to me this morning that they said when I was 21 years old you don't know what you're doing you're fake you have a bad neck you don't have enough money you're not a good schmoozer you're kind of short you're an asshole which is still a problem for me and all of those voices and after making art for about 10 years I collapsed and listen to those demons I couldn't fight them anymore myself exiled and it was very very painful Franklin I lived in Chicago I was making our I was showing my own work I was in a new gallery in New York called the Barbara Gladstone gallery I got the National Endowment for the Arts grant I was written about in art form so all the outer things were starting to fall in a little place but I gave it and I became a long-distance truck driver I drunk once a month from New York to Florida or New York to Texas my CB handle I was called the Jewish cowboy and I used to come on in oh so long partner can we talk about the work of Richard Serra and they never once talked back to me never once finally after almost 10 years of hell now I'm about 40 years old at this point miserable beyond belief still going to shows I went to buy a hundred studio visits a year trying to keep up with the language that was being evolved in artists studios which is as you know because you do it the key I thought I got to get back in the air well I wonder what I could do and I have to understand I have no degrees I didn't go to school I'm a terrible student and a very slow reader I love myself I'm just giving you the conditions on my ground and I thought maybe I could be an art critic that must be easy and maybe people would like love me and I could be a millionaire and get famous and have any of you listening to this tried to write Franklin you've written I've certainly tried tell exactly tell the audience what it's like to sit down and write it's like banging your head up against the brick you know we find the right thing to copy eventually so I started to write and I taught myself and I'm almost done I taught myself our criticism by reading what essentially is the art world school newspaper art form and I would bring a big stack into the trucks and I would read them in my motel rooms night and these were the kind of things I would read they would say the late capitalist postmarks is commodified object existing to simulacra of a dialectic being interrogated by Altieri arity and bullshit voila new new and I was so intimidated and so freaked out but nevertheless to finish this part of the story one day under a lot of pressure because all good art will come under a deadline or being forced to do it because again anybody that writes knows this he would not write less you had to write or I would not if you can find a way out of this job for me after this is over I I'm an excellent driver I'm a very good at parallel parking I will drive your local truck I under pressure started accidentally writing how I talk how I think sharing what I really think which means also having an opinion in most criticism unto this day it's the most bizarre thing there's very little juice of opinion it's as if people believe there's an objective truth about art as if you could ever prove that Vermeer is better than even Norman Rockwell you can't actually prove that so I believe that everybody listening to us should start making work in their own idiotic voice curator show in your voice curate the wrong artists in it make art about the wrong things write whatever you have to write if you build it they might come if you just build it like other people I'll go oh good for you aren't you a good little humanist aren't you a good little student who learned to draw exactly whoever de Kooning although I would love a fake together so that's how I became a critic and met you when you were a kid in Philadelphia and already he was awesome you people he scared me then you're way too kind wait to come you point to something really important for us I mean we're here in Miami at a museum we don't have a met down the street we don't have a dessert that you know so we're looking at history through that lens that you identified everything is contemporary and and I think this city embraces that like almost like no other because we don't have the baggage of history to the degree that you might in some other places that said art can be a complex delicate thing that has a lot of nuance and has to do with history and culture big ideas and you've said those things when the frankness that I think led to your inclusion on the exhibition on the show the Bravo show this is like a critics dream you're taking the gospel to the masses how did you do that well first of all I was on Atia Bravo TV show that ran two years and was very well rated and I was paying for two years called work of our America's next great artist it was actually a TV a reality TV game show and I was like assignment called qaol qaol Scholz whatever I was one of two or three judges and must have been about 11 years ago saying people too produced Project Runway and Top Chef and I hate to admit this Franklin but they had me at hello when they asked me I said well how much does this pay and they said $900 in episode and each season was I think nine episodes so after taxes it wasn't I didn't do it for the money the free food was insanely good and I used to put huge piles of sandwiches in my pocket take them home to Roberta but my dream was not to be one of the hundred and fifty-five Mandarin art critics that spoke to the other hundred and fifty-five art critics about 55 already pre-approved artists who who appear in you know fifty of every show every year that every collector buys because every other collector has already bought I didn't want to do that I don't know if any of your listeners know of whose sister Wendy was or she was a nun that used lecture on art history in Great Britain or Bob Ross the guy with the Jew fro that used to paint funny landscapes that's what I wanted to be or mr. Rogers I wanted to bring our criticism into people's living rooms now man do people tear me a thousand new ones in the art world for them oh my god and people would say Jerry salty ruined the art room and I used to write back well that didn't take much obviously and my wife the art critic Roberta Smith who is the co chief for the New York Times unbiased so I have to say this I think she's the greatest art critic alive and frankly the greatest that's among the greatest who's ever written and you know that's what I think and I love my work that's what I think she never watched the show once and I would barely watch it all I wanted to do was write a what it was like and when I did this long story short can this is when I started writing back to every single comment or online first it was just Facebook this is before Twitter and Instagram but there were 100,000 comments and I tried to answer every one and they would write things like what an asshole salsas and then I would write back I had this idea that if I was nice and addressed them that way and tried to explain myself maybe it could work so I would go dear mister or miss juju 69 I'm sorry you think I'm an asshole but when I was describing that person's painting as being too close to the work of you know Richard Serra this is what I meant and in every case Franklin people leveled the playing field and to finish this I guess I thought that was the answer for me instead of the old art critic model of the one at the top speaking down to the many I had found a way to have the many speak to one another and I've been trying to facilitate that every day every hour in live time ever since and that means being what I call radically vulnerable being wrong in real time in public and hey we're all learning on the job you are I am so that's that's what that idiot TV show did to me and I love like I said yeah I gained 18 pounds but like you said it opened up the conversation and it led directly to the social media platform that you have brought to this point today um just give a sense of past and present and it's a way of asking what is the state of criticism now host that period where social media has allowed for the conversation to perhaps become a little bit more or a little bit more democratic what is the state of art criticism now in a big sense we don't have we don't have work of art anymore thank God I wish we did well I think you should be on it not those guys are trying to get a hold of me for my book damn cut fur if you're listening to this higher Franklin I swear to you he's the next me he can eat never mind so look everybody's been talking about the crisis of criticism since I've been in criticism the art world loves acting like an undertaker painting is dead the novel is dead photography is dead everybody you know the author was dead as soon as in Roberta my wife Roberta Smith pointed this out they only started pronouncing the author dead when more women and artists of color suddenly showed up on the stage and all the theory people went not to like we're not interested in your subjectivity anymore it's like damn what was I talking about where did this where was I in lifetime I thought oh yeah criticism so yeah criticism was dead too I killed criticism once you've killed it you know at Prospect you put an end to you know all beauty and everything and it was a success and but here's what happened I am part of a dying generation of people that are very very very lucky to have weekly jobs writing for general interest magazines and in Roberta's case a newspaper there used to be thousands this probably 20 30 left in the United States and after this crisis there could be fewer like what is a magazine we are getting goose to not buying a newspaper and only only reading them on our phones but here's what I think long answer a short answer no lifeline criticism is as alive today as I have ever seen there are blogs young writers doing what I once did because there's no money or criticism we are free to write what anything we want so what do we don't get invited to the party I'm not invited to a lot of parties it hurts my feelings but you know the art world is big enough that you get invited to other parties and what I'm seeing is not a rebirth of criticism but an evolution of criticism going from monthly in the magazines to weekly and then me kind of daily or hourly when I'm work and hysterical and these writers are able to write that way too and they're able to do it with you you've had conversations like the typer lerczak other people it's all it's fine criticism is just fine I wish more people had editors but that's me that's just me I'm fine with or without so let's not worry about criticism don't come to it to make any money and after this crisis my guess is just as Trump had fast-food restaurants at the stimulus table they're gonna survive small restaurants know the big galleries will probably survive I would ask our art world could we stop obsessing on the 55 mostly white male artists who do make a fortune can we stop printing the auction reports they have nothing whatsoever to do with art it's fun to see other people making money I want all artists to make money the good the bad the very bad but it doesn't have anything to do with art I don't need to see another article about Jeff Koons or earth Fisher or whoever I love those guys I'm old those were my people okay and now a lot of them make crap all the work maybe like me but when the world comes back maybe we could focus people on aren't right about the art you see it's gonna be so great to stand next to all of you again and and coughin to my arm after my temperatures been taken we're good you're good and we'll make fun of that painting and have a good conversation so sorry to keep going but obviously I've been alone a lot up in Northwest Connecticut do you live with any artwork I'm sorry I can't get up we kind of made our own rule Franklin to not own any art that is in play that means the contemporary art that I might love and that like you I might know about ten years before it comes into the public light and I only we buy thrift store paintings no clowns no dogs and there's none near me really crap oh look ceramics $5.00 the more crazy the better I like them heavy and also as some of your listeners know I will pay anyone watching me one hundred and fifty five dollars to make a perfect copy that the people that idiot Sotheby's or Christie's would wrecking say that's a pretty perfect copy of a Damien Hirst dot baby I have one at downstairs here and it makes me Damien Hirst's dot paintings aren't great but they make you feel cheery every time you see one I have a great Gerhard Richter like smear and make a Robert lineman for me I'm dying for a great Robert Ryman don't make my vengeance you did it so hard oh it was awful do you do you live without your joy some things yeah I mean you know different I live with some things I I have traded for writing in the past and and I love those things and I love those artists and I'm feel very close to certain artists last question before we open up because I see we have some questions I don't know if it changes for you on a daily basis but I get this question what's your favorite piece of art Wow I have to say that in this terrible terrible cause I've been lucky I begged New York magazine I said of course I love all the listicles that everybody is posting now of course I like the links to this in that show at every museum I'm all for that and I look at it but I want to take this time it will pass like I say to try to go deeper into my own work really pick up you know glean the weird warbling x' that I've heard trust beneath the surface of a lot of older are okay I just wrote a long article on Brueghel's the triumph of death it's not my favorite work of art but I realize in this painting of absolute mayhem and destruction and in total death no good death no no redemption no morality that every inch of the painting is filled with love the love that Bruegel put in and you know Bruegel every detail of every detail of every millimeters detailed he's there with you waiting for you right now I'm thinking about a great work of art a lot called the ease and I'm altarpiece by Mattias Grune evolved that was meant to heal the sick and on death yeah artists had many purposes in its millennia millions of years whatever one of them is to kill you another is to curse you and many may be healed what's your favorite work of art today it'll change you I don't know but you just gave me the most amazing memory of sitting with Harold amen and listening to him talk about Emery Blagdon stealing machines yes yeah that an object of art could somehow heal physically spiritually might there is oh yeah right now I'm just right there I'm with you tonight yeah thank you so much and I just I want to turn it over to Anita Brown who's gonna hit us with some questions from the live stream thanks Franklin cannot wait and Jerry your first show when we're back mass forward to it wear a mask that was amazing I feel like this is definitely one I'm going to need to give a rewatch a lot of questions coming in from both Facebook live and Instagram live so we're going to start with the first question which is from Adrian is there an artist statement or a curatorial text that you have read that doesn't make you cringe and share some examples rhetorical question what adrian is referring to is that many artist statements are unnecessarily complicated and written like one of those weird sentences from you know brainy art magazines here's what I want you to do for your artist statements artists kiss keep it simple stupid you big babies you might want to start like this when I was young I used to love magic like if that's your obsession or you have a thing about an old TV show keep it personal a bee keep it simple see keep it short and most important after you're done with your idiot statement give it to somebody that doesn't know your work well and just say can you very very vaguely describe what my work looks like because the artists never go there they go oh it's resolving the dielectric between nature and culture and you're like oh another one so keep it simple okay I promise you I've been at a lot of these juries the simpler it is the better your shot I love it I'm just gonna go on to the next one because I feel like that was the answer we needed okay this one is from Joey how was art valued why does some sell for millions those what an art critic says say influence the price or a gallery accepting works right last question first critics used to have power it was a bad idea Clement Greenberg was a big bully just imagine it's the 1940s and you're not an older white Jewish alcoholic male making large abstract paintings with smeary paint you're out of luck because there's only one gatekeeper luckily the art world opened up as you know from me and my work I don't believe in that role I would tell you I have tried to make careers and failed and I've tried to break careers and I failed critics have very little power that way right now and that's good if you ask me next if a dealer will only show your work because I like it you need a better dealer frankly okay and why is art so expensive beats the shit out of me it got much too expensive much I'm paid too much sometimes a lot of artists are paid too much do you really think on the other side of this tragedy that recent MFA grads if there are any for the first few years that recent MFA grads some of them will be able to command $40,000 50 60 the way that was not unusual 90 days ago I don't think so it got out of hand it was unsustainable not bad it just meant that it was getting more and more efficient in a world that's eccentric not efficient so don't worry about the money I promise you I know the secret of success and you won't believe me but I'm gonna tell you the truth if you just keep working you big babies you will end up with the phony baloney job like me that you don't have to drive a truck or work in a restaurant or something in the real world the definition of success is time time to make it work that's what I want for you and I want all artists to make money you'll make enough believe me not a lot but you'll make enough and families are good have a family it's just fine thank you move on to the next because they're tiny we have about six minutes so this one is from Ali have you ever regretted any critique yes I have regretted reviews I fell in love early on with an artist named pip Pilate risked our is T a Swiss Miss maker of the videotapes and I knew about her work before she showed and at her first show in New York I went to the show 19 times and I fell in love with it by the 19th time I had accidentally figured out everything I thought was wrong with it and I did not deliver my love or why she was great it was a terrible mistake when I first saw the stacks of paper by Felix gonzalez-torres I was like what huh isn't that like Donald Judd and I missed it and I'd say to all critics if you miss it and you're halfway decent and you still have a job the next time they come around in 18 months or something you have another chance if you keep getting it wrong you better be able to prove that you're right and everyone else in the whole world except you is wrong which I would say makes you a bit of an idiot because that hasn't happened sure I regret things and I will say so out loud more critics need to do that say I miss that Anita who is pretty good artist and I blew it blast yeah let's see from Lilliana are the art fairs dead the art fairs here's what's gonna happen with the art fairs I think I know nothing I mean you're talking to a person that knows next and nothing about how that works I'm a social misfit I never go to art fairs if I have to cross water okay so in New York I'll go but I have nervous breakdown so I went to Miami at a damn nervous breakdown and always end up back in my hotel room staring at the ocean vaguely crime going why can't I lose like everybody else so my guess is Basel might be fine because they own their enormous convention hall they can move the Art Fair to any time when will it start functioning again I don't know I don't know what the Miami Art Fair is is you guys down there well no everyone loves making fun of Miami I mean that's what you do and that's what the people in Miami do it's great you know that's fun that's beautiful sport I don't know what's gonna happen unless your city government steps in and makes that haul very cheap or free and you might be able to save it so somebody in government I hope you're listening and then the British are maniacs they'd love glitzy theatrical tent city casino productions so I would say maybe freeze would be fine they're good at producing things and their accents are so beautiful everyone falls in love so the Germans are smarter so art fairs we needed them to go away right everyone that was in them it was just like the government it's a system that's bad nobody likes it but nobody knows how to change it well it just got changed for us and it might help the younger galleries that survive I hope so Miamians have a good sense of humor about it you guys are amazing I love coming down there I'm excellent driver as I said I guess this virtual setup worked out in your favor though I didn't know about the ocean your feeling towards those I guess on that note we have a question from Carlos what are your thoughts on the virtual museum and virtual gallery experience right I am an old purse I've never initiated a text when people send me DMS on Instagram I'm not quite sure how to get them I don't know how to post videos for example I've never had an assistant in my life and I never will because the thought of having somebody here working with me would drive me insane unless you can write my work then I want to hire you okay I don't get the same hit if it's not in person okay I'm not against seeing art online at all when you guys all do the art fair that's what I'm doing I'm looking at everybody in their bathing suit and getting jealous and yelling at my phone it's great at seeing some great art oh you want me to explain the banana to you should I explain it yes that idiotic banana and I was down there last year for it but I forgot to go to the big Art Fair because I'm mental I forgot completely I just went to two little ones because I thought oh yeah I want to see what's in the swamp anyway that idiotic rendus banana by maritza acaba with a bad piece of art that made the whole world talk about what is art and that was pretty cool and we have to pay attention to that and then a very bad artist some horrendous fake male conceptual artists came and ate the banana and had a big press conference and they invited me to it and when they reached out to me I said I would never go to that you're a terrible artist and that was waiting to happen and you just did it you're boring we're coddling Speas was bad raise the big Duchamp peon this is a urinal is it also are more questions I'm ready to do this all night I can tell and we so appreciate it but unfortunately I think our time cutoff is approaching we would love to ask you more and there's definitely more questions but thank you thank you so much Geri and thank you so much Franklin for for this amazing conversation and thank you to the over 500 viewers that we have out there on two different platforms it means so much to have you all with us and of course Gerry is holding up my last cue my publishers gonna kill me it made it debuted on the New York Times fuckin bestseller list I got no money but it's there it's got pretty pictures in it you know come on it'll change your life and I need somebody else to write a book called how to be a writer because I have no idea to purchase your copy of how to be an artist by Jerry Saltz as you just heard from the man himself and at this time when we needed the most we would like to encourage you to please donate if you're able to there is a comment pinned on the Facebook live and you can also visit Pam that word we really appreciate anything and everything you were able to do to support Miami and its art scene at this time thank you all so much for joining us and sincere thanks again to both Jerry and Franklin thank you thank you love you I'm gonna hang up I'm hanging out scared I hate this part thank you so much thank you thank you thank you

Channel: Pérez Art Museum Miami

Views: 2,213

Rating: 4.8431373 out of 5

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Id: JoAVcwebAiA

Length: 56min 59sec (3419 seconds)

Published: Tue Apr 28 2020