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April 15, 2014

Julian Schnabel: In The Course of Seven Days

A Rare Look Inside the Artist's Home Studio as He Opens His First US Museum Show Since the 1980s

Julian Schnabel’s bold, appropriative style has polarized critical opinion since he burst onto the New York art scene in the late 1970s, becoming one of America’s most famous living painters. His reputation as an artist was almost eclipsed by his success as a film director, with credits including Basquiat and The Diving Bell and the Butterfly, for which he won the Palme D’Or. Porfirio Munoz’s documentary In The Course of Seven Days is timely: currently showing at the Dallas Contemporary—his first US museum show since the 1980s—and with two solo exhibitions coming up, the controversial Brooklyn-born painter is back in vogue. “This show is a capsule of what happened, a selection of paintings from the past 10 years, more or less,” says Schnabel of Every Angel Has a Dark Side, which opens at the Dairy Art Centre in London on 25 April. “It's a continuum of ways that I have made marks, used materials and created images.” 

Seven things that Julian Schnabel is excited about this spring:
1. Seeing my son.
2. Meeting all those fresh new people that are waiting to meet me.
3. Watching the buds turn into flowers.
4. Getting in the water.
5. Surfing.
6. Seeing these paintings hanging in all of these different places and seeing how people react to them.
7. Hanging around with my friends.
And everything else. 

Every Angel Has a Dark Side runs at The Dairy Art Centre from April 25 through July 27 2014. View of Dawn in the Tropics: Paintings, 1989-1990 opens at the Gagosian Gallery, NY on April 17 - May 31. Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails) is at the Dallas Contemporary until 10 August.

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Spotlight

Gary Simmons: Downtown Reflections

The New York Artist On the Roots of His Provocative, Pop-Infused Work

Gary Simmons unravels the influence that hi-tops, boom boxes and Public Enemy have had over his work in the latest installment of Matt Black’s Reflections series. Whether depicting the Hollywood sign ablaze or using watercolor varnish on large-scale, apocalyptic landscapes, Simmons twists American iconography with poetic vigor. First gaining art-world fame in the 90s with his “erasure drawings,” using chalkboards found in an abandoned school as canvases, Simmons smudged Disney cartoons with his fingertips to probe misconceptions of class and racial identity. Director Black sat down with him in his Chelsea gallery Metro Pictures—which also represents the likes of Cindy Sherman, Robert Longo and Andy Hope 1930—and was struck by both the intensity of Simmons and the breadth of his work that has shown at MoMA and the Whitney. “We spent the afternoon talking about New York, music, boxing and tattoos,” he says, citing Simmons’ installations “Fuck Hollywood” and “Line Up” as his favorite works, before adding: “In both he uses sneakers to tell a story of America. The result is always both subtle and powerful, with a haunting quality.”

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Spotlight

The Richard Prince Yard Sale

A Pop-Up of Paintings, Romance Novels and Good Karma in the Hamptons

For one day this summer, New Yorkers took a break from their sun-soaked pools to come together at Karma, a two-storey antiquarian bookstore in the East Hamptons, Long Island, which played host to an impromptu yard sale from the muscle car-loving conceptual artist, Richard Prince. Held under the aegis of Prince’s art publishing house, Fulton Ryder, the one-off curiosities were “a combination of objects that Richard no longer wanted," says the company’s director Fabiola Alondra, "from a leather jacket to movie posters and couple of artworks that were fucked up." Photographer Kava Gorna––a regular for The New York Times, i-D and Vogue––was there to capture the goings-on, where bargain-hunters could pick up anything from tomes on Memphis Group design, vintage editions from the artist's collection of erotica, as well as cans of his Pop-infused soft drink, Richard Prince's Lemon Fizz. The brainchild of Brendan Dugan, a long-time collaborator of multimedia artist Dan Colen, Karma follows the success of Dugan’s eponymous West Village bookstore-cum-gallery. "Dan was out in Long Island, and we said 'Let's just find a little space out there and do a project,'" explains Dugan. "So I was walking down the street in Amagansett––a sleepy, quiet part of Long Island, and we happened across this great old building. And that was that."

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