Art
Art Critic Roberta Smith to Retire, Leaving the New York Times After 32 Years – ARTnews
Roberta Smith, one of the nation’s leading art critics, will step down from her post as co-chief art critic of the New York Times. She had contributed to the Times for 38 years, officially working for the publication for 32 of them, and had been co-chief art critic since 2011.
On her Instagram, Smith wrote, “I’ll still contribute short reviews to the Times every couple of months and, if further ideas occur, can also write about those. In my coals-to-Newcastle-life, I will have more time to pursue my number one interest, which is going to galleries and museums, looking at stuff. But this will be the first time since 1972 – with a few breaks — that I won’t have regular writing commitments, which I can barely comprehend.”
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She continued, “I think I can say that art has kept me young – or something close. I look forward to seeing if live music, dance and theater can do the same. We who have art in our lives in any form are incredibly lucky. But the real luck may be having people who love and obsess about art so completely in our lives.”
Her husband, New York art critic Jerry Saltz, said on his Instagram, “I am biased but believe that @robertasmithnyt is the best pure art critic alive. The directness, integrity, conciseness, power of observation, ability to parse differences and conditions, love of art, respect for artists, and obsession for how things are made make her indispensable and irreplaceable. She has been at the Times since 1986 – 38 years of memorable weekly deadlines, regular obituaries, and critic-notebooks.”
According to the Times’s announcement, Smith had written more than 4,500 essays and reviews since being hired in 1991.
It wasn’t clear whether her post would be filled. She currently serves as co-chief art critic alongside the Pulitzer Prize–winning critic Holland Cotter.
Smith, now in her 70s, is widely read and well-regarded. Her writing career dates back to the ’70s, when she contributed to Artforum, Art in America, ARTnews, the Village Voice, and other publications of note, and she has since then cultivated a reputation for stylish, incisive criticism that is notably shorn of artspeak that tends to pervade art writing.
“I think that criticism teaches people to be critical,” she once said. “It’s essential to a democracy in a way. I don’t want to overblow what I do, but it’s like you’re demonstrating one way of being critical within this certain area, and hopefully, it will get people to look critically.”
When she was made co-chief art critic of the Times in 2011, two decades after she was officially hired by the publication, she made history as the first woman to hold that title.
Among the accolades she has won is the Rabkin Foundation’s lifetime achievement award, which comes with $50,000.
Barbara Graustark, the art editor of the New York Times, said in a statement, “Over more than 50 years, Ro has anointed the new, celebrated the overlooked, and held institutions accountable on many fronts, including representation and acquisitions, while bringing fresh context to marginalized areas of art-making, especially outsider art and craft.”
Smith’s departure is the second major one for an art critic at a New York–based general interest publication in the past few years. Peter Schjeldahl, the longtime art critic for the New Yorker, died while holding the post in 2022, leaving a void that was filled last year by Jackson Arn.
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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