Jerry Saltz is a Senior Art Critic at New York Magazine. He focuses on various aspects of the art world, including fine art, digital art, art dealing, and urban and street art, bringing a keen insight into the intersection of art and culture. Jerry is featured in Magzter, Curbed, RealClearEnergy, Vulture, Village Voice, and has received accolades such as the 2018 Pulitzer Prize in Criticism and a New York Times Best Seller for his book “How To Be an Artist.”
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New York, United States (Local)
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Jerry Saltz, an influential art critic, predominantly covers the art world with a focus on art shows and artist profiles. His articles often feature expert commentary and event coverage related to contemporary art exhibitions.
To effectively reach out to Jerry Saltz, consider providing unique insights into upcoming or ongoing art exhibitions, significant developments in the contemporary art scene, or perspectives from renowned artists. Additionally, pitches centered around in-depth analysis of emerging trends in contemporary art could align well with his areas of interest.
Given his frequent coverage of New York's artistic landscape and international relevance as a senior critic at New York Magazine, he might be particularly interested in stories that intersect with this geographic area but is also likely open to compelling narratives from other regions.
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Will the New Museum actually reopen?
By: Jerry Saltz
This year's 2026 Preview consists of all the entertainment — from TV and movies to classical music — that Vulture writers and editors are excited to consume in the New Year. Below, our art list.
Jerry Saltz visits the Bowery gallery space, which has added 10,000 new square feet with a second building.
Going Big on Bowery The art world nervously turned out for the New Museum reopening.
“I saw 25, 30 shows a week, made hundreds of studio visits, and everywhere I went I brought my camera.”
“I saw 25, 30 shows a week, made hundreds of studio visits, and everywhere I went I brought my camera.”
The art world is in a lather over the spring's art-auction frenzy. But I only feel grief, like something is dying. Above: Rothko's
The mega-gallery embraced a fantasy of endless growth and hype and the assumption that bigger means better. The consequences have arrived.
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.
