{"id":3129,"date":"2026-06-27T19:37:04","date_gmt":"2026-06-27T19:37:04","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=3129"},"modified":"2026-06-27T19:37:04","modified_gmt":"2026-06-27T19:37:04","slug":"house-of-criticism-review-a-pensive-and-touching-portrait-of-married-art-critics-jerry-saltz-and-roberta-smith-it-is-only-at-moments-a-true-life-christopher-guest-movie","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=3129","title":{"rendered":"\u2018House of Criticism\u2019 Review: A Pensive and Touching Portrait of Married Art Critics Jerry Saltz and Roberta Smith (It Is Only, at Moments, a True-Life Christopher Guest Movie)"},"content":{"rendered":"
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\n\tIf you wanted to be funny about it, you could say that Jerry Saltz and Roberta Smith, who occupy the center of the documentary \u201cHouse of Criticism,\u201d are like characters out of a Christopher Guest movie. Both are venerable New York art critics \u2014 but the thing is, they\u2019re married<\/em> New York art critics, whose lives revolve entirely around art and art criticism and talking about art and art criticism. They eat, breathe, sleep and dream it. In the Guest mockumentary of my imagination, the two would be played by Bob Balaban and Parker Posey, and they would be blissfully cracked egghead eccentrics who think that art is the most important thing in the world because it\u2019s the most important thing in the world to them<\/em>.<\/p>\n

Read more Christopher Nolan Says Playing it Safe With Mainstream Movies \u2018Doesn\u2019t Work\u2019: \u2018The Audience Is Looking for Something New\u2019<\/a><\/p>\n

\n\tAt moments, \u201cHouse of Criticism\u201d does throw off unintentional comic sparks of art-world insularity. But I\u2019m kidding, ultimately, since underneath that it\u2019s a pensive and touching documentary, and it happens to be about two writers I greatly admire. Roberta Smith, the co-chief art critic of the New York Times, and Jerry Saltz, the art critic of New York magazine, are writers of sway, elegance, legend. They\u2019re two of the last powerful legacy critics in America, and both are fantastic writers. For them, the love of art is a mission, at once sophisticated and childlike. Roberta calls art \u201cthe most advanced operating system that our species has devised to explore consciousness, the seen and the unseeable.\u201d The way art connects (and saves) these two on a daily basis is its own rarefied story, and it speaks to a certain vanishing culture of passionate New York literary brainiacs that used to be thought of as almost the essence of the city.<\/p>\n

\n\tEarly on, Jerry stands before Picasso\u2019s epochal Les Demoiselles d\u2019Avignon<\/em> at the Museum of Modern Art and does a head-spinning riff on it, describing how 500 years of art history collapsed in the late 19th century (through Manet, the Impressionists, Van Gogh, Cezanne), leaving the blank slate for Picasso to fill. He compares the way the painting remade the world to the cataclysm of 9\/11 (\u201cWhen we believed in one course of history, and obviously there was another course of history, and they shattered\u201d). Now that\u2019s criticism.<\/p>\n

\n\tAs \u201cHouse of Criticism\u201d shows us, Jerry Saltz and Roberta Smith are luminaries and survivors who enjoy an idealized life together. Roberta is something of a contradiction, both the haughtier and more vulnerable of the two. She can be imperious in that Timesian way, but there\u2019s a tremulous insecurity about her. Beneath a certain Midwestern patrician rigor, she\u2019s full of self-doubt about her writing and is in constant need of encouragement, which Jerry is more than happy to provide. He\u2019s blustery and big picture-oriented, while her insights are more delicate and intimate, blooming out of her holy communion with the work.<\/p>\n

\n\tJerry is a contradiction as well, a man who writes like a demon and looks like a dentist. But don\u2019t let his fubsy aura fool you \u2014 he\u2019s the social butterfly and loose cannon, plugged into social media (which he plays like a violin), and the audacious thoughts pour out of him. The most telling aspect of their relationship is that as writers they should be competitors, but instead they\u2019re spiritual collaborators; they turn what could be a competition into a romance. They help each other on word choices, and even when they\u2019re reviewing the same show, they\u2019re really competing with themselves, with their own cultivated and highly different ideas of perfectionism.<\/p>\n

\n\tTheir relationship is built, to a large degree, around Jerry\u2019s belief that Roberta is the superior critic \u2014 but this, for Jerry, is a form of chivalry, the flower of their love story. \u201cYour writing is so condensed, right on the object, focused,\u201d he says. He\u2019s intensely supportive, but Jerry, who won the Pulitzer Prize for criticism in 2018, is arguably the greater writer (his poetic showmanship flies higher), and it\u2019s my reading that deep down he knows it. It\u2019s his perpetual self-deprecation and devotion that keeps the marriage balanced.<\/p>\n

\n\tThe two have no children and no apparent hobbies outside of their unrelenting obsession with art. They slip in and out of gallery openings, where they\u2019re treated like royalty, and they attend 20 to 30 shows a week. By all rights, they should have a social calendar that rivals Andy Warhol\u2019s in the \u201970s. But here\u2019s the joke: They adore their life together but are so devoted to their work, so monastic about it, that they never go out. Jerry calls them \u201chappy losers\u201d and describes their spacious apartment off Fifth Avenue in Greenwich Village as \u201cthe house that criticism built.\u201d<\/p>\n

Read more Colman Domingo on Working with Antoine Fuqua and Steven Spielberg, and Why the Bay Area Holds a Special Place in His Heart<\/a><\/p>\n

\n\tIn the morning, he pours deli coffee over ice into a 7-11 Big Gulp cup, and he\u2019ll consume three of those a day. It\u2019s fuel, as is the food he eats. When his friend Adam Platt, the New York magazine restaurant critic, asks Jerry what his favorite food is, Jerry replies: the grilled chicken at Gristede\u2019s (a slightly downscale New York supermarket). \u201cThat\u2019s the life of the mind!\u201d says Platt. \u201cYou\u2019re as happy with prison food.\u201d He\u2019s not kidding. I live in the same neighborhood and use Gristede\u2019s as a convenience store, and I would never consider buying the grilled chicken there. But as Jerry explains, popping a bag of spinach into the microwave, he and Roberta are so consumed with work that they subsist on this drone food. The two barely go to restaurants (though we see them having breakfast at their favorite diner). Do they drink? If I was them, I\u2019d need a cocktail by the end of the day, but the movie never says.\u00a0\u00a0<\/p>\n

\n\t\u201cHouse of Criticism,\u201d directed by Alison Chernick, has a sketchy but rather controlled vantage. There\u2019s a lot you don\u2019t learn (I would have liked to see more about the politics of the New York art world), and plenty you do \u2014 like the fact that Lena Dunham is their goddaughter. Late in the movie, she comes over to visit them and provokes a penetrating exchange on the subject of why they never had kids.<\/p>\n

\n\tPeople don\u2019t often think of critics in humanistic terms, but these two invest criticism with soul, and there\u2019s something disarming about how they were both damaged people who came together by seeing, in each other, a mirror image. She was born in New York and raised in Kansas, moving back to Manhattan in her early twenties to be part of the art scene (her mentor was the artist and critic Donald Judd). She found her way to criticism as a role in life, yet there was something metaphysically lonely about her.<\/p>\n

\n\tIt\u2019s Jerry who comes from trauma. His mother, who committed suicide when he was 10, was erased out of his life (she was never spoken of again). He tells a haunting story about how she dropped him off for a solo visit to the Art Institute of Chicago just two weeks before her death, and it was there, on that visit, that the art lightbulb went off: He realized that every painting is a story. He wanted to be<\/em> a painter, and tried (he had some talent), but thought that he lacked the proper schooling. What he really lacked was confidence. In photographs from the time, Jerry looks like he could be Richard Dreyfuss\u2019s sad-sack brother. He wound up becoming a long-distance trucker, driving 10-wheelers full of paintings (he did this for 10 years), and he confesses that at moments he would go back into the truck and stomp on paintings and damage them. That is seriously sick behavior (his self-hatred was off the charts), and it\u2019s amazing that he became the menschy person he did.<\/p>\n

\n\tThese two have thrived as critics by evolving. Jerry says of critics, \u201cWe have to adapt to the times, or we\u2019re bullies and geezers.\u201d He\u2019s right. The film culminates in Roberta\u2019s ultimate evolution \u2014 her decision to retire from the New York Times. The time feels right, but the question hovers: Without that job, what will her identity be? In a moving moment, she tells Jerry, \u201cYou\u2019re my infrastructure.\u201d \u201cYou\u2019re mine,\u201d he says. (That\u2019s the critic version of \u201cYou complete me.\u201d) And seeing each other through the prism of art is both of their infrastructure. These two are standard-bearers for the glory of a culture that once was. It\u2019s a culture where criticism is about judging things, but more than that it\u2019s about exploring things \u2014 experiencing<\/em> things, bringing you closer to life.<\/p>\n

Read more \u2018Supergirl\u2019 Writer Ana Nogueira on the Movie\u2019s Key Changes From the \u2018Woman of Tomorrow\u2019 Comic and the Status of \u2018Wonder Woman\u2019 and \u2018Teen Titans\u2019<\/a><\/p>\n<\/div>\n<\/div>\n

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\t\t\u2018House of Criticism\u2019 Review: A Pensive and Touching Portrait of Married Art Critics Jerry Saltz and Roberta Smith (It Is Only, at Moments, a True-Life Christopher Guest Movie)<\/p>\n<\/h2>\n

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\t\tReviewed online (Tribeca Festival, Spotlight Documentary), June 25, 2026. Running time: 83 MIN.<\/p>\n<\/h2>\n

    \n
  • \nCrew:<\/strong>
    \nDirector: Alison Chernick. Editors: Helen Yum, Sabine Krayenb\u00fchl, Melinda Pinecone.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nRoberta Smith, Jerry Saltz, Lena Dunham, Cindy Sherman, Mickalene Thomas, Larry Gagosian, David Zwimmer, Adam Platt, Laurie Simmons, Carroll Dunham. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Alison Chernick’s film is a pensive and touching look at Jerry Saltz and Roberta Smith (it is only, at moments, a true-life Christopher Guest movie).<\/p>\n","protected":false},"author":1,"featured_media":3128,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[2600,2601,2602],"class_list":["post-3129","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-house-of-criticism","tag-jerry-saltz","tag-roberta-smith"],"yoast_head":"\n\u2018House of Criticism\u2019 Review: A Pensive and Touching Portrait of Married Art Critics Jerry Saltz and Roberta Smith (It Is Only, at Moments, a True-Life Christopher Guest Movie) - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=3129\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018House of Criticism\u2019 Review: A Pensive and Touching Portrait of Married Art Critics Jerry Saltz and Roberta Smith (It Is Only, at Moments, a True-Life Christopher Guest Movie) - 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