An astounding piece of analysis on the Jerry Saltz “artStar” phenomenon.. A must-read for anyone at all interested in how the internet is currently contributing to the de-materialization of art, facilitated by scum hack sell-outs like Saltz, who distort and debase art and promote its devaluation dimensionally across me.dia, while benefiting personally in the SUCK art topology. In the final analysis for this blog, the internet era art star is not an artist, but a critic, who leverages his access to every platform of public and private art exchange [auction, art fair, print media, television, studios, galleries, social media, collector’s homes, museums, art funders, institutions, schools, etc.] into a Ponzi scheme framework of amplified importance for his own ideas and experience. This has nothing in truth to do with art. Phenomenologically, Saltz’s trajectory only has to do with translating vertical hierarchies to proprietary “cloud” effects of instrumental benefit to a fractional constituency of interdependent players. Panero’s essay correctly diagnoses the topology and the effects, and provides the only viable response to the Saltz Effect. A critic art star is the hero of 3000 years of epistemology sutured into the dimensional realities of the post-Turing machine era. Saltz is not only a practitioner of interventions [recall Jerry’s recent memorable disclosures: Turning off the Rist projections with a button-push and making the relational aesthetic installation at Guggenheim cry], he - as the new SUCK art star, eclipsing the Hirsts and Deitches, and even Broads or Rockefellers, at least immaterially - is intervention himself. Saltz’s faceted “identity” allows him to defend the abominable and despicable status quo of “art” as a secondary commodities market, and attack it, to create a persona that is “the friend of artists” while performing actions that are destructive to art and artist, contribute to the neo-establishment of a demonstrably fundamentalist schema for art in society while pretending to promote “openness” and “inclusion” in the HR dynamics of art-org behavior, and so on. To acknowledge that Jerry Saltz and Roberta Smith are indistinguishable structurally from the corrupt and oppressive two-party system currently dominant in American politics is important for anyone who cares about art and artist. Whether one encounters a byte of Saltz flotsam in a reblog on an artist site, or meets him as I have at an art fair magazine table, one must parse the encounter as an episode, since to “contact” Jerry Saltz, a cloud brand essentially, is to confront the unreal reality he projects today through the media octopus - equivalent to Goldman Sachs in its formulation, if not its apps and mechanisms. The devastation attaching to both Goldman Sachs and Jerry Saltz, while dissimilar in features, is however effectively identical. Both entities function as managers, as management, as specialists who derive benefit from playing both sides against the middle for profits. Jerry Saltz’s profits are not necessarily monetary, which can also be said to be true of Goldman Sachs. Social positioning is a profound driver of amorality. To recognize distortion tactics, obfuscation, as a key feature of the multi-platform operation in a mediated topology is necessary to comprehend the effects of distortion, whose ancillary effects include reverb and echo. Saltz has emerged as an accomplished operator in this sense, which contextualizes him with the BP, US Chamber of Commerce, Goldman Sachs, Toyota, SONY, and other manipulators of free speech environments and enemies of bottom-top representation. It is only necessary to scope the products promoted by such entities, to datamine their trajectories, to analyze their artificiality as manifested situationally, to gain a measure of the impacts for which they can be held to account. Jerry Saltz has been a critical voice at critical times over the past decade - a cloud presence in the affirmative role - in support of important hyper-destructive developments in the evolution of art in the nascent 4D era, and in the SUCK takeover of the art platform in America. I have documented most of these interventions in the various AFH blogs and my thesis in real time. To sum: Jerry Saltz is a fraud, a case study for corruption in the cultural infrastructure of America, AND as such, he is exactly the sort of collaborator who is the paradigmatic emblem of ArtStar Kultur. Corruption, oppression from the top-down have gone viral - and their artificial name is Saltz, and all who love art should shun his wickedness, for it shall besmirch them, and all creation, in the end. In times of the ascension of evil, it is good to notice who succeeds in the position of mouthpiece, fulminator, and humming blatherer. [MILO]
