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David Salle

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Famous David Salle Quotes

“Fairfield Porter who has been my model for art writing all along, said that if the most interesting thing about a work of art is its content, it's probably a failure. I think it's true that if you find yourself thinking about the meaning in an author's message, it's probably not very interesting as art. Obviously, this is a tough concept, because if you withdraw intention.”

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“Artists talk about art in sort of straightforward terms, more like the way you talk about plumbing fixtures. Does it function well? Does it bring the hot water up from the cellar efficiently, or does it lose too much thermodynamic energy in the process? Artists are also very ruthless with each other and can be very brutal in evaluating each other's work because their criteria is almost more mechanistic. Does it do what it's supposed to be doing in an efficient way? That doesn't mean that intention is not part of the conversation, but it's not the foreground.”

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“When I first came to New York, I knew some painters older than myself. I was kind of the kid who was allowed to hang out with them. That is more the way people talked in those days, it was perfectly normal to question a work's fundamental premises and its fundamental visual manifestations. It was perfectly okay to say, "Oh, that should have been red" or something like that. In a funny way, the way artists talk about art is to de-privilege it.”

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“There was a review by Fairfield Porter from the 1950s about Mark Rothko, one of the more hallowed names in American art. Porter says something like, "Yeah, Rothko paints rectangles of color. They have mass but no weight." That's not in any way a detraction, but it's a description. And it has nothing to do with the spiritual dimension. The main thing is as an intelligent viewer, to identify just what those things are that it does, that those rectangles do, and then not assume that they do these things over here. I don't know why that's challenging.”

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“There are so many different ways to talk and think about art. We just spoke about when attitude becomes form. But when I was a kid, I had these two art teachers, a couple, who were continuing a line of very classical, atelier art training, and they instilled in me a sensitivity to all the classical verities of line, shape, color, texture, and composition, which is only engaging if you're making two-dimensional objects.”

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“I think a good painting or a good work of art does many things it wants, I mean, maybe 15 or 20 or 100. One of the things a painting does is to make the room look better. It improves the wall that it's on. Which is much harder than it looks. And that's a good thing. And if one engages with a painting on that level, that's fine, that's great. After some time, familiarity, the other things that a painting does, the other layers, they just start to make themselves felt.”

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