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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Conversations (2)

  • Joe Battle Artist
    This film of Julian in his studio is iconic of an artist whose reach is greater than his particular moment in time. Julian is a strong voice for our generation. He has made, and continues to make, a meaningful impact, with his thought and artistic statements.I admire his effect on the hearts and minds of those he has touched.
  • Scottjones
    I love listening to Julian Schnabel talk. He's articulate, thoughtful and down right wise when he waxes on about painting. He channels all the best parts of Abstract Expression - an intimacy with materials, a surrealist's love of automatism and juxtaposition, an existentialist's hope for discovered meaning. Scoop in a large helping of good old Post-Modern reappropriation, and abracadabra: the wit and insight of Julian Schnabel with all its old New York School charm. But when time comes to look at the paintings it becomes clear immediately that they could have been made by a far lesser intellect than Schnabel's. They feel like they've taken the easy way out. Using scale as a stand-in for something that wants to be grand, there is far less going on in the work than it seems. Take Rauschenberg, mix in de Kooning and add a dash of early Fischl and what you have in Schnabel’s painting is something far less than the sum of its parts. He doesn't so much stand on the shoulders of giants as much as peeks out from around their sides.
    • Posted By Scottjones
    • May 16, 2014 at 10:54AM
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  • ON REPLAY
    ON REPLAY

    In Residence: Fernando Romero

    The Architect Opens Up His Modernist Mexican Villa For the First Time

    “To me, this house is the ultimate modernity dream come true,” says Fernando Romero of the two-story, mid-century gem he calls home. “It is extremely flexible for all types of activities: for family, for socializing, for living.” Designed in 1955 by homegrown architect Francisco Artigas, the house is located in the leafy suburbs of Mexico City, adjacent to one of largest city parks in the Western Hemisphere, Bosque de Chapultepec. Romero has lived in the house with his wife and five children since 2010, yet this is the first time anybody has been granted access to document his private family villa. Before founding his architecture practice FR-EE in 2000, Romero—along with Bjarke Ingels and Ole Scheeren—began his career at OMA as a protégé of Dutch starchitect Rem Koolhas. Recognized for his futuristic aesthetic and his sustainable agenda, Romero’s impressive Soumaya Museum in downtown Mexico City is a curvaceous, aluminum-tiled building that houses the world-class art collection of telecommunications billionaire, Carlos Slim, who also happens to be his father in-law. Next, Romero is putting the finishing touches on the Miami Chapel in Florida, a museum in Panama, and a Contemporary Art Museum in Tulum. “The underground Mexico City Aquarium near the Soumaya is expected to be completed in a few months time too, and we are also doing heavy research and design for a 21st-century city for emerging economies: the FR-EE City!”

    Can you tell us about the home’s architect, Francisco Artigas? 
    Fernando Romero:
    He was a Mexican autodidact architect mainly known for developments in the wealthy Pedregal and San Ángel neighborhoods south of Mexico City. The architecture is strongly influenced by Artigas’ contemporary, the California-based Richard Neutra.

    Tell us about the layout of the house?
    FR:
    I like that the house has a very efficient L-shaped two-story floor plan organizing the private spaces on the upper floor, while all public and social spaces are located at the ground floor. A double-height interior patio covered by a skylight provides natural lighting to both stories, while the social areas are directly connected to the garden and an outdoor pool.

    Is the architecture typical for the neighborhood?
    FR:
    This house is a small surprise because these types of villas were more popular in the southern Pedregal and San Ángel neighborhoods of the city.

    Did you make any changes to the house when you moved in?
    FR:
    On the contrary, for my family and me, it was all about preserving it and taking good care of it.

    What is your idea of the perfect house?
    FR:
    At this moment in my life, an invisible house.

    (Read More)
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    Yayoi Kusama: Self Obliteration

    Japan’s Polka-Dot Pioneer on a Life at the Mercy of Her Art

    “She says that if she doesn’t paint she wouldn’t exist,” says Martín Rietti of his latest subject, 84-year-old Japanese artist Yayoi Kusama. “Her work has an authenticity that I don’t often see in contemporary art.” The Argentinian director visited Kusama at her studio in Tokyo ahead of her latest show that opens at the Museo de Arte Latinoamericano de Buenos Aires, curated by Deputy Chief Curator of MALBA, Philip Larratt-Smith, and Francis Morris, who curated her retrospective at the Tate in 2012. This first major retrospective in Latin America opens tomorrow before traveling to four other cities in South and Central America over the next year and a half. It leads the viewer through over 100 works created between 1950 and the present day, spanning her early period in Japan, 15-year stint in New York where she befriended fellow artists Georgia O’Keeffe, Donald Judd and Joseph Cornell, and her return to Tokyo, where she has been living voluntarily in a psychiatric clinic since 1977. “Her work is not only a revelation of her inner psychic reality but also a sort of time capsule of the emancipatory and utopian moment of the late 1960s,” says Larratt-Smith. “She is a very seductive person, secretive and charming. When she speaks the obsessive cast of her mind becomes immediately clear: she talks in circles, often repeating the same thing many times. It is clear that she has deep psychic wounds, but also that her work sustains her and keeps her going.”

    (Read More)

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