19.12: Roberta Smith
- Page ID
- 299412
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Roberta Smith
Roberta Smith (born 1948) is an esteemed American art critic and lecturer, renowned for her insightful and accessible critiques. She has served as co-chief art critic at The New York Times, becoming the first woman to hold that position. Smith's writings span a diverse array of visual arts, including contemporary, decorative, popular, outsider art, design, and architecture.
Early Life and Education
Born in New York City and raised in Lawrence, Kansas, Smith pursued her undergraduate studies at Grinnell College in Iowa. Her immersion into the art world began with a summer internship at the Corcoran Gallery of Art in Washington, D.C., in 1968. She further honed her expertise through the Whitney Museum's Independent Study Program, where she developed a lasting interest in minimal art and formed a professional relationship with artist Donald Judd.
Career Highlights
Smith's career in art criticism commenced in the early 1970s with contributions to Artforum, Art in America, and the Village Voice. In 1986, she joined The New York Times, where her critiques have been instrumental in shaping public discourse on art. Her writings are noted for their clarity, depth, and ability to demystify complex art concepts for a broader audience.
Engagement with Ceramics and Craft
Smith has been a vocal advocate for recognizing ceramics and craft within the fine arts sphere. In a 2009 article for The New York Times, she emphasized the rich history of ceramics, stating:
"Ceramic has one of the richest histories of any medium on the planet... It can't be said enough that the art-craft divide is a bogus concept regularly obliterated by the undeniable originality of individuals who may call themselves artists, designers or artisans."
Her reviews often highlight the significance of ceramic art, bringing attention to artists who challenge traditional boundaries between art and craft.
Notable Works and Contributions
- Extensive critiques and essays for The New York Times on contemporary art exhibitions and artists.
- Contributions to exhibition catalogs and monographs on artists such as Donald Judd, Alex Katz, Elizabeth Murray, and Cy Twombly.
- Recipient of the 2003 Frank Jewett Mather Award for Art Criticism from the College Art Association.
Selected Lectures and Interviews
Personal Life
Roberta Smith is married to Jerry Saltz, senior art critic for New York Magazine. The couple resides in Greenwich Village, New York City, and are prominent figures in the art criticism community.