Image courtesy of Clyfford Still Museum

The New York School of artists often had consuming relationships with critics. Art writers like Clement Greenberg and Harold Rosenberg had the power to bolster an artist’s notoriety and embed their name in history, but they also had the ability to crush aspirations and reputations. AbEx painter Clyfford Still was unafraid to express his loathing for this dynamic, and the way critics (in his eyes) manipulated artists and their work. He aggressively responded to reviewers, famously sending art critic Emily Genauer a pair of rubber underpants for her “Sunday afflictions” after she wrote an unflattering review of his work in The New York Herald Tribune. Based on Still’s history with critics, The Clyfford Still Museum invited Jerry Saltz and Roberta Smith, the two most prominent art critics working today, to speak at their Winter 2015 Keynote. Held in Ponti Hall at the Denver Art Museum on February 12, Saltz and Smith pulled one of the largest crowds for a museum event the city has seen.

The structure of the talk was loose and meandering, with both Saltz and Smith glossing over their biographies – he as a former artist turned truck driver who took up writing criticism on the road, she as an assistant for Donald Judd and then writing for Artforum and Village Voice. They met at a gallery reception and he asked her to contribute to his book Beyond Boundaries: New York’s New Art in 1987, without having ever read her writing. They have since been married 23 years, with Roberta writing as co-chief art critic for The New York Times and Jerry as senior art critic at New York magazine. They eat, sleep, and breathe art together, yet retain individual identities in their writing styles and opinions.

Roberta stated that everyone should embrace their inner critic, and acknowledged that she and her husband are often at the receiving end of criticism themselves. In December 2006, Time Out New York compiled a list of the top professional reviewers with “…the power to shape NYC culture…rated by the artists and industry insiders who know them best.” Saltz clocked in at #1 and Smith was #2. An anonymous quote from the ratings said that while Saltz is “…opinionated and argumentative, he is at least passionate about art…” A quote about Roberta: “Considers her subjects carefully, but can never entirely endorse them. Her reserved style is respected, but not always just.” They still describe their styles as such today; Saltz having a loose, animated bravura while Smith is more controlled and focused on pace.

Their writing styles matched their personalities on stage. The volume of Jerry’s voice bounced up and down, often accompanied with energetic hand gestures, while Roberta’s tone was clear and direct, hands calm. Their shared ability, though, to express themselves concisely with intellect and humor is what made the experience truly engaging. There was never a lull in their discussion, and they made it clear that they expected the audience to keep the momentum during the Q&A session. People tend to ask longwinded questions, and Jerry gave one inquisitor a loud BZZZT! before he could even get one out. This was merely his humor shining through, and they graciously answered all questions with thoughtfulness and attention to the examiner. One person asked how they gauge their success, and Roberta answered that she measures her success by how useful she is to readers and art viewers, that she “doesn’t feel alive” if she’s not in print. Jerry and Roberta thrive off feedback from their audiences, and it showed when they fielded questions from the crowd. They are both active on social media, too, and interact with their cyber audience daily.

It was not until I reviewed my notes days after the lecture when I noticed that Jerry spoke more to and about artists, while Roberta’s discussion focused on the criticism and writing process. From this one can see how Jerry’s early history as an artist continues to influence his perspective and voice as a critic. He stressed that artists need to work, work, and work more, both creatively and at a traditional “real job.” Roberta credited her mother for encouraging a critical eye and visual literacy at an early age. She said she abstains from getting too personal to those she writes about, which explains her cool detachment in print. As a couple they strike a balance that is so difficult to achieve in their field, it makes one wonder if they would have reached the level of success they have today if they never would have developed a relationship.

Jerry and Roberta’s work centers on the New York art world, but their influence is national and they recognize the significance of art communities throughout the country. Their Instagram and Twitter feeds were full of art highlights from Denver Art Museum and Clyfford Still Museum, along with much praise of the strength of both museums’ collections. They were especially enchanted by CSM, and talked at length about how important this museum is to understanding an artist’s development and craft. It’s too bad they did have more time to spend in the Mile High so they could see how much more the city has to offer with its hundreds of galleries, theaters, artist studios, and alternative spaces, but Jerry tweeted to his 59K followers, “Denver on itinerary kids.” He and Roberta may have only gotten a tiny taste of what’s here, but they liked what they saw and will hopefully come back for more.

-Hayley Richardson