Julian Schnabel

Post image for Julian Schnabel’s Formula for Greatness

Since Julian Schnabel first gained attention with his broken plate paintings in the 1980s, he has been predisposed to working on found surfaces – animal skins, velvet, corduroy, sail cloth, tarpaulins, canvas flooring from boxing rings, wallpaper, navigation maps, flags, Kabuki theater backdrops, and photosensitive canvases – which help disguise the fact that he can’t draw in paint and doesn’t really have much feel for paint’s potentiality.

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Post image for What’s Up With “Shia LaBeouf”?

“Julian Schnabel , Jeff koons, Duchamp ect……”

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The Pursuit of Art, 2013

by Thomas Micchelli on December 28, 2013

Post image for The Pursuit of Art, 2013

Memories fade. That’s the one good reason, as far as I can see, to compile an end-of-year list. It’s sometimes startling to retrace what attracted my attention over the course of a year; it is also instructive to determine where such a miscellany of shows fits in with ongoing areas of interest, and which ones, in hindsight, merited the time it took to review them.

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Post image for In the Schnabel Chapel, Part 4

The final installment of Julian Schnabel 1978–1981, the rotating exhibition of four of the artist’s early works, has arrived with “Abstract Painting on Blue Velvet” (1980). If you’re seeking closure, however, I doubt that you will find it here.

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Post image for In the Schnabel Chapel, Part 3

As an undergraduate, I took a seminar in contemporary art issues conducted by the theater designer Robert Israel, who once mused about coming across one of Robert Rauschenberg’s 1950s-era combines in a collector’s pristine white apartment. The artwork, composed of recycled scraps of garbage, “looked like it was peeing all over the place.”

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In the Schnabel Chapel, Part 2

by Thomas Micchelli on February 23, 2013

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“The Patients and the Doctors” (1978) is Julian Schnabel’s first plate painting. It is also the title of a prose poem/essay he wrote for the February 1984 issue of Artforum, a ham-fisted manifesto that did little to dispel his reputation for defensive bluster.

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In the Schnabel Chapel, Part 1

by Thomas Micchelli on February 16, 2013

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Is it possible to look at Julian Schnabel’s “St. Sebastian” (1979) with fresh eyes, as if the past 34 years of Schnabel Sturm und Schnabel Drang never really happened? As if it were a new painting fresh out of an unknown artist’s studio, landing inconspicuously in a storefront gallery on East 10th Street between 2nd and 1st?

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Post image for What Is It About Pageantry That We Love So Much? (On Roger Brown and Julian Schnabel)

Roger Brown (1941–1997) died a decade after his retrospective opened at the Hirshhorn Museum and Sculpture Garden, Washington, D.C. (August 13, 1987–October 18, 1987), and traveled to three other museums, none of which were on the East Coast or in a densely populated urban center. More surprising, the show didn’t travel to Chicago, where Brown first gained attention and with which he is associated.

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Post image for Breaking: Julian Schnabel’s Abode Fading from “Pompeii Red” to “Venetian Pink”

We haven’t been covering the humble home of artist Julian Schnabel, known as Palazzo Chupi, like others have but that’s not to say we haven’t been gawking at a distance trying to figure out WTF why the hell he made it.

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Post image for UPDATED: Ai Weiwei’s Zodiac Unveiled, Mayor Bloomberg Applauds Artist’s Courage

Today’s rain may have put a damper on the unveiling of Ai Weiwei’s “Circle of Animals/Zodiac Heads” (2009) at the Pulitzer Fountain, located at Central Park South and Fifth Avenue, but what certainly cast a pall over the event was the artist’s own absence. After over a month since his arrest by the Chinese government, we still haven’t heard from the dissident artist. The opening of “Zodiac Heads” was met with widespread support for Ai’s plight and for his politically contentious work, both from Mayor Bloomberg and the city’s influential arts community.

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