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79-585: Documenta (often stylized documenta ) is an exhibition of contemporary art which takes place every five years in Kassel , Germany. Documenta was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time. It was an attempt to bring Germany up to speed with modern art, both banishing and repressing

158-498: A 24-hour security presence is recommended when precious treasures are exhibited. Finally, the exhibition is best protected when equipped with intruder alarms , which can be fitted at entry points to the building and internal areas. Jerry Saltz Jerry Saltz (born February 19, 1951, in Chicago, Illinois ) is an American art critic . Since 2006, he has been senior art critic and columnist for New York magazine. Formerly

237-463: A critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration. Documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum . The documenta-Halle

316-759: A crucial impact on the study of Early Netherlandish painting . In 1968, Art fairs in Europe became quite the fashion with the advent of the Cologne Art Fair which was sponsored by the Cologne Art Dealers Association. Because of the high admission standards of the Cologne fair a rival fair was organized in Düsseldorf which enabled less regarded galleries opportunity to meet with an international public. The fairs took place during

395-464: A good word to describe the intention and the demand of Documenta. Each edition of Documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus . Art professor and designer Arnold Bode from Kassel was the initiator of the first Documenta. Originally planned as a secondary event to accompany

474-533: A level lower than that falling on the exhibit. Visible light levels should be maintained at between 50 lux and 100 lux depending on the light sensitivity of objects. An items level of toleration will depend on the inks or pigments being exposed and the duration of the exhibition time. A maximum exhibition length should initially be determined for each exhibited item based on its light sensitivity, anticipated light level, and its cumulative past and projected exhibition exposure. Light levels need to be measured when

553-432: A low UV output and when covered with plastic sleeves before exhibition. Though tungsten-halogen lamps are currently a favorite artificial lighting source, they still give off significant amounts of UV radiation; use these only with special UV filters and dimmers. Lights should be lowered or turned off completely when visitors are not in the exhibition space. The exhibition space's relative humidity (RH) should be set to

632-555: A new post-colonial, borderless space, from which experimental cultures could emerge. documenta 12 occupied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon", or meadow pavilion, designed by French firm Lacaton et Vassal. At documenta (13) in 2012 about a fifth of the works were unveiled in places like Kabul, Afghanistan and Banff, Canada. There are also

711-528: A number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum and the Karlsaue park. To handle the number of artworks at documenta IX , five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue. For documenta (13) , French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in

790-692: A period where exhibitions, often one-off shows, were crucial in exposing the public to new developments in art, and eventually Modern art . Important shows of this type were the Armory Show in New York City in 1913 and the London International Surrealist Exhibition in 1936. Museums started holding large loan exhibitions of historic art in the late 19th century, as also did the Royal Academy, but

869-464: A physically and chemically secure environment. Vertical cases are acceptable for small or single-sheet items, and horizontal cases can be used for a variety of objects, including three-dimensional items such as opened or closed books, and flat paper items. All these objects can be arranged simultaneously in one horizontal case under a unified theme. Materials used for case construction should be chosen carefully because component materials can easily become

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948-418: A significant source of pollutants or harmful fumes for displayed objects. Outgassing from materials used in the construction of the exhibition case and/or fabrics used for lining the case can be destructive. Pollutants may cause visible deterioration, including discoloration of surfaces and corrosion . Examples of evaluative criteria to be used in deeming materials suitable for use in exhibit display could be

1027-513: A space for temporary exhibitions. Exhibitions in commercial galleries are often entirely made up of items that are for sale, but may be supplemented by other items that are not. Typically, the visitor has to pay (extra on top of the basic museum entrance cost) to enter a museum exhibition, but not a commercial one in a gallery. Retrospectives look back over the work of a single artist; other common types are individual exhibitions or "solo shows" , and group exhibitions or "group shows"). The Biennale

1106-407: A specific form of art . The art works may be presented in museums , art halls, art clubs or private art galleries , or at some place the principal business of which is not the display or sale of art, such as a coffeehouse . An important distinction is noted between those exhibits where some or all of the works are for sale, normally in private art galleries, and those where they are not. Sometimes

1185-788: A statement urging the artistic team to remove the drawings until they can be "appropriately contextualized"; scholars from the Archives of Women’s Struggles in Algeria stated: "[ Presence des Femmes ] was in solidarity by the Algerian women with the Palestinian people, in denouncing the crimes committed by the Israeli State. We would like this document, like many other texts or artworks in the world, to be placed in its historical and political context." In November 2023, Documenta receives

1264-749: A story, everything here has a code, has a language—and I’m going to learn this whole language and I’m going to know the story." Saltz moved to the inner city and attended the School of the Art Institute of Chicago from 1970 to 1975 before dropping out. Saltz worked briefly at Jan Cicero Gallery before co-founding, with Barry Holden and artists from the Art Institute of Chicago , N.A.M.E. Gallery, an artist-run gallery. Saltz moved to New York City in 1980. Since 2006, Saltz has been senior art critic and columnist for New York magazine. Formerly

1343-476: A value between 35% and 50%. The maximum acceptable variation should be 5% on either side of this range. Seasonal changes of 5% are also allowed. The control of relative humidity is especially critical for vellum and parchment materials, which are extremely sensitive to changes in relative humidity and may contract violently and unevenly if displayed in too dry an environment. For preservation purposes, cooler temperatures are always recommended. The temperature of

1422-689: A wavelength below 400 nm (ultraviolet radiation) be limited to no more than 75 microwatts per lumen at 10 to 100 lux. Furthermore, exposure to natural light is undesirable because of its intensity and high UV content. When such exposure is unavoidable, preventative measures must be taken to control UV radiation, including the use of blinds, shades, curtains, UV filtering films, and UV-filtering panels in windows or cases. Artificial light sources are safer options for exhibition. Among these sources, incandescent lamps are most suitable because they emit little or no UV radiation. Fluorescent lamps , common in most institutions, may be used only when they produce

1501-404: A window cut in the top board to enable the object to be seen, can be used to support and enhance the display of single sheet or folded items. Backing layers of archival cardboard should be thick enough to protect objects. Moreover, any protective glazing used should never come in direct contact with objects. Frames should be well-sealed and hung securely, allowing a space for air circulation between

1580-443: Is a large exhibition held every two years, often intending to gather together the best of international art; there are now many of these. A travelling exhibition is an exhibition seen at several venues, sometimes across the world. Exhibitions of new or recent art can be juried, invitational, or open. The art exhibition has played a crucial part in the market for new art since the 18th and 19th centuries. The Paris Salon , open to

1659-615: Is also one of these mighty figures, laboring with passion in private shadows." Saltz uses Facebook more actively than many other art critics, posting daily questions and diatribes to his audience of friends, which numbered 94,039 people in December 2020. He has stated that he wants to demystify the art critic to artists and a general art audience. His posts are less polished and restrained than his writing for New York Magazine and vulture.com , and he has shared personal matters including family tragedies, career bumps and his diet. He told

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1738-428: Is an exhibition space of works in a gallery that charges the artist for use of the space. Temporary museum exhibitions typically display items from the museum's own collection on a particular period, theme or topic, supplemented by loans from other collections, mostly those of other museums. They normally include no items for sale; they are distinguished from the museum's permanent displays, and most large museums set aside

1817-655: Is cumulative and irreversible. Two trusted sources – the National Information Standard Organization's Environmental Conditions for Exhibiting Library and Archival Materials, and the British Library's Guidance for Exhibiting Library and Archive Materials – have established indispensable criteria to help curtail the deleterious effects of exhibitions on library and archival materials. These criteria may be divided into five main preservation categories: Environmental concerns of

1896-408: Is essential that they be displayed with care. Not all materials are able withstand the hardships of display, and therefore each piece needs to be assessed carefully to determine its ability to withstand the rigors of an exhibition. In particular, when exhibited items are archival artifacts or paper-based objects, preservation considerations need be emphasized because damage and change in such materials

1975-456: Is the recipient of three honorary doctorates, including from the School of the Art Institute of Chicago in 2008 and Kansas City Art Institute in 2011. Saltz was born in Oak Park , before moving to River Forest, Illinois . His mother died when he was ten years old. Shortly after he recalls a memorable trip to the Art Institute of Chicago , where he discovered, "Everything here is telling

2054-882: The New York Observer , "It's exciting to be in this room with 5,000 people. It's like the Cedar Bar for me, or Max's Kansas City ." He has used his page to defend the use of irony in art, arguing against adherents of "the New Seriousness", whom he calls the "Purity Police". In 2010, artist Jennifer Dalton exhibited an artwork called "What Are We Not Shutting Up About?" at the FLAG Foundation in New York that statistically analyzed five months of Facebook conversations between Saltz and his online friends. In an interview with Artinfo , Dalton said of

2133-513: The Bundesgartenschau , this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art"—that is, art made after 1945—instead, Bode wanted to show the public works which had been known as " Entartete Kunst " in Germany during the Nazi era: Fauvism , Expressionism , Cubism , Blauer Reiter , Futurism and Pittura Metafisica . Therefore, abstract art , in particular

2212-560: The Frank Jewett Mather Award for art criticism from the College Art Association . In a 2018 interview, Saltz maintained, "To this day I wake up early and I have to get to my desk to write almost immediately. I mean fast. Before the demons get me. I got to get writing. And once I’ve written almost anything, I’ll pretty much write all day, I don’t leave my desk, I have no other life. I’m not part of

2291-533: The Pulitzer Prize for Criticism in 2018 and was a finalist for the award in 2001 and 2006. Saltz is the recipient of three honorary doctorates , including from the School of the Art Institute of Chicago in 2008 and Kansas City Art Institute in 2011. Saltz lives in New York City with his wife Roberta Smith , co-chief art critic for the New York Times . They were married in 1992. Saltz

2370-511: The abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition. Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta , the first ever to turn a profit, featured a selection of pop art , minimal art and kinetic art . Adopting the theme of Questioning Reality – Pictorial Worlds Today,

2449-738: The academic art promoted by the Paris Salon, always more rigid than London, was felt to be stifling French art, alternative exhibitions, now generally known as the Salon des Refusés ("Salon of the Refused") were held, most famously in 1863, when the government allowed them an annex to the main exhibition for a show that included Édouard Manet 's Luncheon on the Grass (Le déjeuner sur l'herbe) and James McNeill Whistler's Girl in White . This began

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2528-548: The art world . Although he's defended the art market, he's also called out faddy market behavior and the fetish for youth, saying "the art world eats its young." On a College Art Association panel in February 2007, Saltz commented, "We live in a Misplaced Pages art world. Twenty years ago, there were only four to five encyclopedias—and I tried to get into them. Now, all writing is in the Misplaced Pages. Some entries are bogus, some are

2607-477: The documenta (13) , for example, art critic Jerry Saltz identified more than a third of the artists represented by Marian Goodman Gallery in the show. Documenta's decision to feature some of its shows outside of Germany, in peripheral contexts has sparked numerous critical discussions that reaches an apogee around documenta14 which partly took place in Athens, Greece in 2017. Various critics raised concerns about

2686-627: The "museum of 100 days". Documenta is not a selling exhibition. Documenta , an invented word, reflects the intention of the exhibition (in particular of the first Documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere 'teach' and mens 'intellect', and therefore thought it to be

2765-459: The 1972 Documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles. Also, it devoted a large section to the work of Adolf Wolfli , the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy. Additionally, the 1987 Documenta show signaled another important shift with

2844-441: The 1982 edition. documenta IX' s team of curators consisted of Jan Hoet , Piero Luigi Tazzi, Denys Zacharopoulos and Bart de Baere. For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière ) as a part of the exhibition. The first non-European director

2923-470: The United States. Following the advent of Wash Art, many fairs developed throughout the United States. Although preservation issues are often disregarded in favor of other priorities during the exhibition process, they should certainly be considered so that possible damage to the collection is minimized or limited. As all objects in the library exhibition are unique and to some extent vulnerable, it

3002-521: The artist is trying to say and what he or she is actually saying, what the work reveals about society and the timeless conditions of being alive". In Seeing Out Loud , his collection of Village Voice columns published in 2003, he said he considers himself the kind of critic that Peter Plagens calls a "goalie," someone who says "It's going to have to be pretty good to get by me." Saltz has cited Manny Farber's "termite art" and Joan Didion 's "Babylon" as well as other wide-ranging systemic metaphors for

3081-521: The best. We live in an open art world ." His humor, irreverence, self-deprecation and volubility have led some to call him the Rodney Dangerfield of the art world. He has expressed doubt about art critics' influence as purveyors of taste, saying they have little effect on the success of an artist's career. Nonetheless, ArtReview called him the 73rd most powerful person in the art world in their 2009 Power 100 list. In 2007, he received

3160-423: The binding structure. Because exhibited items are often of special interest, they demand a high level of security to reduce the risk of loss from theft or vandalism. Exhibition cases should be securely locked. In addition, cases may be glazed with a material that hinders penetration and that when broken does not risk shards of glass falling on the exhibits. Whenever possible, the exhibition area should be patrolled;

3239-572: The book hinge; cradles, which support bound volumes as they lay open without stress to the binding structure; and polyester film strips, which help to secure open leaves. Textblock supports are best used in conjunction with book cradles where the textblock is greater than 1/2 inch, or where the textblock noticeably sags. Regardless of its method of support, however, any book that is kept open for long periods can cause damage. One should turn an exhibited book's pages every few days in order to protect pages from overexposure to light and spread any strain on

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3318-401: The case (for example, polyester blend fabric), and any adhesives used in the process, should also be tested to determine any risk. Using internal buffers and pollutant absorbers, such as silica gel , activated carbon , or zeolite , is a good way to control relative humidity and pollutants. Buffers and absorbers should be placed out of sight, in the base or behind the backboard of a case. If

3397-615: The case is to be painted, it is recommended oil paints be avoided; acrylic or latex paint is preferable. There are two kinds of objects displayed at the library and archival exhibition – bound materials and unbound materials. Bound materials include books and pamphlets , and unbound materials include manuscripts , cards, drawings, and other two-dimensional items. The observance of proper display conditions will help minimize any potential physical damage. All items displayed must be adequately supported and secured. Unbound materials, usually single-sheet items, need to be attached securely to

3476-407: The cultural darkness of Nazism . This first Documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky ). The more recent editions of the event feature artists based across the world, but much of the art is site-specific . Every Documenta is limited to 100 days of exhibition, which is why it is often referred to as

3555-523: The direction of Elias Felluss, in Washington DC organized the first American dealer art fair. "The Washington International Art Fair" or "Wash Art" for brevity. This American fair met with fierce opposition by those galleries interested in maintaining distribution channels for European artwork already in place. The Washington fair introduced the European idea of dealer fairs to art dealers throughout

3634-447: The display space should not exceed 72 °F. A lower temperature of down to 50 °F can be considered safe for a majority of objects. The maximum acceptable variation in this range is 5 °F, meaning that the temperature should not go above 77 °F and below 45 °F. As temperature and relative humidity are interdependent, temperature should be reasonably constant so that relative humidity can be maintained as well. Controlling

3713-421: The elevation of design to the realm of art – showing an openness to postmodern design. Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/1977, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced. Documenta11 was organized around themes like migration, urbanization and

3792-459: The environment with 24-hour air conditioning and dehumidification is the most effective way of protecting an exhibition from serious fluctuations. One factor that influences how well materials will fare in an exhibition is the length of the show. The longer an item is exposed to harmful environmental conditions, the more likely that it will experience deterioration. Many museums and libraries have permanent exhibitions , and installed exhibitions have

3871-422: The event is organized on a specific occasion, like a birthday, anniversary or commemoration. There are different kinds of art exhibitions, in particular there is a distinction between commercial and non-commercial exhibitions. A commercial exhibition or trade fair is often referred to as an art fair that shows the work of artists or art dealers where participants generally have to pay a fee. A vanity gallery

3950-417: The exhibition is prepared. UV light meters will check radiation levels in an exhibit space, and data event loggers help determine visible light levels over an extended period of time. Blue wool standards cards can also be utilized to predict the extent to which materials will be damaged during exhibits. UV radiation must be eliminated to the extent it is physically possible; it is recommended that light with

4029-585: The exhibition space; Length of the exhibition; Individual cases; Display methods used on individual objects; and Security. The main concerns of exhibition environments include light , relative humidity , and temperature . Light wavelength , intensity , and duration contribute collectively to the rate of material degradation in exhibitions. The intensity of visible light in the display space should be low enough to avoid object deterioration, but bright enough for viewing. A patron's tolerance of low-level illumination can be aided by reducing ambient light levels to

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4108-581: The exhibition's international credentials. Since the fifth Documenta (1972), a new artistic director has been named for each Documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann , were unable to get along and stepped down. They were replaced by Manfred Schneckenburger , Edward F. Fry , Wulf Herzogenrath, Armin Zweite and Vittorio Fagone. Coosje van Bruggen helped select artists for documenta 7 ,

4187-596: The fall months. This rivalry continued for a few years which provided the Basel Art Fair the opportunity to interject the Basel fair in early summer. These fairs became extremely important to galleries, dealers and publishers as they provided the possibility of worldwide distribution. Düsseldorf and Cologne merged their efforts. Basel soon became the most important art fair. In 1976, the Felluss Gallery under

4266-600: The files and materials of the Documenta organization. A continually expanding video and image archive is also part of the collection as are the independently organized bequests of Arnold Bode and artist Harry Kramer . In 1992, on the occasion of documenta IX , for the first time in the history of Documenta, more than half a million people traveled to Kassel. The 2002 edition of Documenta attracted 650,000 visitors, more than triple Kassel's population. In 2007, documenta 12 drew 754,000 paying visitors, with more than one-third of

4345-415: The frame and the wall. The most common way to display bound materials is closed and lying horizontally. If a volume is shown open, the object should be open only as much as its binding allows. Common practice is to open volumes at an angle no greater than 135°. There are some types of equipment that help support volumes as they displayed openly: blocks or wedges, which hold a book cover to reduce stain at

4424-462: The inclusion of the Palestinian collective Question of Funding in the exhibition; and, lastly, the inclusion of a 1988 Palestinian liberation movement brochure by Burhan Karkoutly titled Presence des Femmes . Artist Hito Steyerl pulled her work from the exhibition in protest to the first two instances, with managing director Sabine Schormann's departure as a consequence. In response to the controversy spurred by Presence des Femmes , Documenta released

4503-458: The length of the exhibition time and the light level of the display, may prevent objects from being exhibited too frequently. Displayed items need to be inspected regularly for evidence of damage or change. It is recommended that high-quality facsimiles of especially delicate or fragile materials be displayed in lieu of originals for longer exhibitions. Library or archival materials are usually displayed in display cases or frames . Cases provide

4582-500: The modern "blockbuster" museum exhibition, with long queues and a large illustrated catalogue, is generally agreed to have been introduced by the exhibitions of artifacts from the tomb of Tutankhamun held in several cities in the 1970s. Many exhibitions, especially in the days before good photographs were available, are important in stimulating research in art history ; the exhibition held in Bruges in 1902 (poster illustrated below) had

4661-683: The most savage put-downs they could think of. Many of the works were already sold, but success at these exhibitions was a crucial way for an artist to attract more commissions. Among important early one-off loan exhibitions of older paintings were the Art Treasures Exhibition, Manchester 1857 , and the Exhibition of National Portraits in London, at what is now the Victoria and Albert Museum , held in three stages in 1866–1868. As

4740-826: The mounts, unless matted or encapsulated. Metal fasteners, pins, screws, and thumbtacks should not come in direct contact with any exhibit items. Instead, photo corners , polyethylene , or polyester film straps may hold the object to the support. Objects may also be encapsulated in polyester film, though old and untreated acidic papers should be professionally deacidified before encapsulation. Avoid potential slippage during encapsulation – when possible, use ultrasonic or heat seals. For objects that need to be hung (and that may require more protection than lightweight polyester film), matting would be an effective alternative. Objects in frames should be separated from harmful materials through matting , glazing , and backing layers. Matting, which consists of two pH-neutral or alkaline boards with

4819-399: The park. A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys ; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann ; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria ; Spitzhacke (1982) by Claes Oldenburg ; Man walking to

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4898-409: The post-colonial experience, with documentary photography, film and video as well as works from far-flung locales holding the spotlight. In 2012, documenta (13) was described as "ardently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art". Documenta typically gives its artists at least two years to conceive and produce their projects, so

4977-478: The potential of contact-transfer of harmful substances, water solubility or dry-transfer of dyes , the dry-texture of paints, pH , and abrasiveness . New cases may be preferred, constructed of safe materials such as metal, plexiglass, or some sealed woods. Separating certain materials from the display section of an exhibition case by lining relevant surfaces with an impermeable barrier film will help protect items from damage. Any fabrics that line or decorate

5056-423: The potential to be on the view without any changes for years. Damage from a long exhibition is usually caused by light. The degree of deterioration is different for each respective object. For paper-based items, the suggested maximum length of time that they should be on display is three months per year, or 42 kilolux hours of light per year – whichever comes first. An exhibition log report, including records of

5135-482: The public from 1737, rapidly became the key factor in determining the reputation, and so the price, of the French artists of the day. The Royal Academy in London, beginning in 1769, soon established a similar grip on the market, and in both countries artists put great efforts into making pictures that would be a success, often changing the direction of their style to meet popular or critical taste. The British Institution

5214-555: The replies. The result was a book featuring Saltz and dozens of his page's followers' quotes: JERRY SALTZ ART CRITIC's Fans, Friends, & The Tribes Suggested ART STUDIO DOOR SIGNS of Real Life or Fantasy . In 2015, Saltz was briefly suspended from Facebook after the site received complaints from users about provocative posts. Saltz served as a judge in the Bravo television series Work of Art: The Next Great Artist which ran from June 9, 2010, to December 21, 2011. Saltz received

5293-547: The resignation letter of the remaining curators María Inés Rodríguez, Simon Njami, Gong Yan and Kathrin Rhomberg, after the resignation of Bracha L. Ettinger and Ranjit Hoskote . The letter precises "In the current circumstances we do not believe that there is a space in Germany for an open exchange of ideas and the development of complex and nuanced artistic approaches that documenta artists and curators deserve." The first four documentas , organized by Arnold Bode, established

5372-738: The senior art critic for The Village Voice , he has also contributed to Art in America , Flash Art International , Frieze , and Modern Painters , Vulture.com among other art publications. In an article in Artnet magazine, Saltz codified his outlook: "All great contemporary artists, schooled or not, are essentially self-taught and are de-skilling like crazy. I don't look for skill in art...Skill has nothing to do with technical proficiency... I'm interested in people who rethink skill, who redefine or reimagine it: an engineer, say, who builds rockets from rocks." In 2008 Saltz said, "I'm looking for what

5451-505: The senior art critic for The Village Voice , he received the Pulitzer Prize for Criticism in 2018 and was nominated for the award in 2001 and 2006. Saltz served as a visiting critic at School of Visual Arts , Columbia University , Yale University , and The School of the Art Institute of Chicago and the New York Studio Residency Program, and was the sole advisor for the 1995 Whitney Biennial . Saltz

5530-524: The sky (1992) by Jonathan Borofsky ; and Fremde (1992) by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck ). The extensive volume of material that is regularly generated on the occasion of this exhibition prompted Arnold Bode to create an archive in 1961. The heart of the archive’s collection comes from

5609-420: The visitors coming from abroad and guests from neighboring Netherlands, France, Belgium and Austria among the most numerous. In 2012, documenta (13) had 904,992 visitors. In 2007, half of Documenta's budget of 19 million euros ($ 25.7 million) came from the city of Kassel, the state of Hessen and Germany's Kulturstiftung des Bundes . The rest came from sponsors, donors and ticket sales. Documenta 14’s budget

5688-505: The ways in which the institution's endorsement of Athens as a place of resistance and novelty entailed a patronizing Orientalist stance, linked to new forms of tourism and the enjoyment of underdeveloped sites of "crisis". In 2022, Documenta caused three separate anti-Semitism controversies: one revolving around the banner Peopleʼs Justice (2002) by the Indonesian collective Taring Padi that contained anti-Semitic imagery; another on

5767-545: The work, “I became interested in Jerry Saltz's Facebook page as an amazing site of written dialogue and as a place where culture is being created on the spot. I think my piece, and Jerry Saltz's Facebook page itself, tells us that a lot of people in the art world crave dialogue and community, and when a space is welcoming enough people really flock to it.” In 2010, Saltz asked his Facebook friends about art studio (or office) door signs—and then later sought someone to compile

5846-403: The works are often elaborate and intellectually complex. However, the participants are often not publicised before the very opening of the exhibition. At documenta (13) , the official list of artists was not released until the day the show opened. Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In

5925-438: The world except when I go to see shows." That same year, Saltz reviewed American-Canadian artist Carole Freeman's exhibit featuring portraits of little known Americans who bring to light current socio-political issues. Saltz wrote: " These transporting portraits are beautiful meditations in paint... Each is rendered lovingly and intensely; the works impart that the chariot to greatness comes in many forms and that every artist

6004-505: Was Okwui Enwezor for Documenta11 . The salary for the artistic director of Documenta is around €100,000 a year. 2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates ". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also

6083-490: Was added to the London scene in 1805, holding two annual exhibitions, one of new British art for sale, and one of loans from the collections of its aristocratic patrons. These exhibitions received lengthy and detailed reviews in the press, which were the main vehicle for the art criticism of the day. Critics as distinguished as Denis Diderot and John Ruskin held their readers attention by sharply divergent reviews of different works, praising some extravagantly and giving others

6162-718: Was at 37 million euros ($ 40 million), spread between 2013 and 2018; by the end of 2017, its deficit was expected to reach 5.4 million euros. Overspending in Athens led to a liquidity shortfall of 7 million euros, forcing the shareholders of Documenta — the city of Kassel and the German state of Hesse — to step in with emergency loan guarantees worth 8 million euros. 51°18′49″N 9°29′51″E  /  51.31361°N 9.49750°E  / 51.31361; 9.49750 Art exhibition Such expositions may present pictures , drawings , video , sound , installation , performance , interactive art , new media art or sculptures by individual artists, groups of artists or collections of

6241-842: Was built in 1992 for documenta IX and now houses some of the exhibitions. Other venues used for Documenta have included the Karlsaue park, Schloss Wilhelmshöhe , the Neue Galerie, the Ottoneum and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach Documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia and Lagos, in an attempt to take Documenta into

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