JULIAN SCHNABEL AT GAGOSIAN GALLERY NEW YORK
VIEW OF DAWN IN THE TROPICS: PAINTINGS, 1989–1990
April 17, 2014 – May 31, 2014
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JULIAN
SCHNABEL AT GAGOSIAN GALLERY NEW YORK
VIEW OF DAWN IN THE
TROPICS: PAINTINGS, 1989–1990
April
17, 2014 – May 31, 2014
‘’
A lot of what I do is about being in the moment…The residue of what happens;
that's what's in the paintings. ‘’
Julian Schnabel
Julian Schnabel
Gagosian is pleased
to present “View of Dawn in the Tropics: Paintings, 1989–1990,” an exhibition
of paintings by Julian Schnabel that are being shown in New York for the first
time, twenty-five years after they were made.
In the late 1980s and early 1990s, Schnabel approached painting as an act as susceptible to chance and circumstance as life itself. Working in the wake of American antecedents such as Robert Rauschenberg and Cy Twombly—who brought a certain sense of freedom to bear on their evident romance with European art and aesthetics—Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were expressed in an attitude of baroque excess combined with improvisational daring. Broken plates, Kabuki theater backdrops, tarpaulins and boxing mats; thickly applied oil paint, collage, viscous resin, and flat digital reproduction; fragments of text in different languages: these are just some of the diverse materials with which Schnabel engages life's grand themes—sexuality, obsession, suffering, redemption, death, and belief.
In the late 1980s and early 1990s, Schnabel approached painting as an act as susceptible to chance and circumstance as life itself. Working in the wake of American antecedents such as Robert Rauschenberg and Cy Twombly—who brought a certain sense of freedom to bear on their evident romance with European art and aesthetics—Schnabel made audaciously scaled paintings and sculptures whose richly hybrid sources were expressed in an attitude of baroque excess combined with improvisational daring. Broken plates, Kabuki theater backdrops, tarpaulins and boxing mats; thickly applied oil paint, collage, viscous resin, and flat digital reproduction; fragments of text in different languages: these are just some of the diverse materials with which Schnabel engages life's grand themes—sexuality, obsession, suffering, redemption, death, and belief.
For Paintings
With and Without Bingo and Ozymandias, executed en plain
air on the site of a ruined neoclassical building during a sojourn in Florida,
Schnabel used old tarpaulins, sailcloth, and rolls of velvet as grounds on
which to render reflections of his immediate surroundings subject to
uncontrollable forces, from tropical storms to his dog Bingo's seemingly random
but deliberate paw prints. These paintings, and others made in similarly
unorthodox conditions in Montauk and San Sebastian, reveal an individualistic
interplay between site and mark-making, both intentional and incidental, that
eschews pictorial hierarchies of authorship, subject, and style.
Schnabel’s persistent allegiance and magnanimous, catch-all approach to painting attests to the palimpsest of emotion, memory, and chance that drives a gleaner's relationship to material and image: from collected words and phrases to allusions to specific moments, places, friends, and family, and narratives of surface, materiality, and studio process. These visceral paintings—where velvet is drenched in sea water, or tablecloths are doused in paint and used as sponges on visibly patched tarpaulins—embody an alternative, iconoclastic approach to “the sacred cloth,” shared with the aforementioned American forbears, as well as kindred spirits Francis Picabia, Yves Klein, Alberto Burri, and Sigmar Polke, to name but a few. There is no substitute for the authenticity of Schnabel's gesture; twenty-five years after their making, his elegant yet exuberant and intrepid paintings have renewed vigor and urgency, anticipating the gestural, aleatory, and readymade painting so pervasive among emerging artists today.
Schnabel’s persistent allegiance and magnanimous, catch-all approach to painting attests to the palimpsest of emotion, memory, and chance that drives a gleaner's relationship to material and image: from collected words and phrases to allusions to specific moments, places, friends, and family, and narratives of surface, materiality, and studio process. These visceral paintings—where velvet is drenched in sea water, or tablecloths are doused in paint and used as sponges on visibly patched tarpaulins—embody an alternative, iconoclastic approach to “the sacred cloth,” shared with the aforementioned American forbears, as well as kindred spirits Francis Picabia, Yves Klein, Alberto Burri, and Sigmar Polke, to name but a few. There is no substitute for the authenticity of Schnabel's gesture; twenty-five years after their making, his elegant yet exuberant and intrepid paintings have renewed vigor and urgency, anticipating the gestural, aleatory, and readymade painting so pervasive among emerging artists today.
JULIAN
SCHNABEL
Julian
Schnabel was born in New York City in 1951 and studied at the
University of Houston (1969–73) and the Whitney Museum Independent Study
Program (1973–74). Public collections include Metropolitan Museum of Art, New
York; Museum of Modern Art, New York; Whitney Museum of American Art, New York;
Solomon R. Guggenheim Museum, New York; Museum of Contemporary Art, Los
Angeles; Broad Art Foundation, Los Angeles; National Gallery of Art,
Washington, D.C.; Tate Gallery, London; Centre Georges Pompidou, Paris; and
Museo Nacional Centro de Arte Reina Sofía, Madrid. Recent solo exhibitions
include Inverleith House, Edinburgh (2003); Schirn Kunsthalle, Frankfurt
(2004); Museo Nacional Centro de Arte Reina Sofía, Madrid (2004); Mostra
d'Oltramare, Naples (2005); Schloss Derneburg, Germany (2007); Tabacalera
Donostia, San Sebastian, Spain (2007); Beijing World Art Museum (2007); Saatchi
Gallery, London (2008); Art Gallery of Ontario (2010); Museo Correr, Venice
(2011); Centro Italiano Arte Contemporanea, Foligno, Italy (2013); and Brant
Foundation Art Study Center (2013–14).
“Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails),” an exhibition of fifteen paintings produced over the past decade, will be on view at Dallas Contemporary from April 11–August 10, 2014.
“Julian Schnabel: An Artist Has A Past (Puffy Clouds and Strong Cocktails),” an exhibition of fifteen paintings produced over the past decade, will be on view at Dallas Contemporary from April 11–August 10, 2014.
Draw
a Family, a fully illustrated book focusing on Schnabel's paintings of the
past forty years, was published by Karma in April of 2014.
Schnabel lives and works in New York City and Montauk.
Schnabel lives and works in New York City and Montauk.
UNTITLED ( LOS PATOS
DEL BUEN RETIRO IV ) 1991
Oil, Gesso on
Velvet, 180 x 180"
Copyright
2014 Julian Schnabel All Rights Reserved
designed
by Julian Schnabel Studio
.jpg)
"JULIAN
SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS,
1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
"JULIAN SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS, 1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
UNTITLED ( LOS PATOS
DEL BUEN RETIRO II ) 1991
Oil, Gesso on
Velvet, 180 x 180"
Copyright
2014 Julian Schnabel All Rights Reserved
designed
by Julian Schnabel Studio
UNTITLED ( LOS PATOS
DEL BUEN RETIRO I ) 1991
Oil, Gesso, Resin on
Velvet, 180 x 190"
Copyright
2014 Julian Schnabel All Rights Reserved
designed
by Julian Schnabel Studio
A LITTLE LATER 1990
Oil, gesso on white tarp - 243.8 x 193 cm
Oil, gesso on white tarp - 243.8 x 193 cm
Photo by Rob
McKeever
"JULIAN SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS, 1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
UNTITLED 1990
Resin, gesso on burlap - 304.8 x 274.3 cm
Resin, gesso on burlap - 304.8 x 274.3 cm
Photo by Ken Cohen
Photography
"JULIAN SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS, 1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
"JULIAN SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS, 1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
UNTITLED
(LOS PATOS DEL BUEN RETIRO V) 1991
Oil, Gesso on Velvet, 180 x 180"
Oil, Gesso on Velvet, 180 x 180"
Copyright
2014 Julian Schnabel All Rights Reserved
designed
by Julian Schnabel Studio
GAGOSIAN GALLERY
LARRY GAGOSIAN
GAGOSIAN GALLERY - LARRY GAGOSIAN
GAGOSIAN GALLERY
UNTITLED 1990
Resin, gesso on burlap - 304.8 x 274.3 cm
Resin, gesso on burlap - 304.8 x 274.3 cm
Photo by Ken Cohen Photography
"JULIAN SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS, 1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
UNTITLED 1990
Resin, gesso on burlap - 304.8 x 274.3 cm
Resin, gesso on burlap - 304.8 x 274.3 cm
Photo by Ken Cohen Photography
"JULIAN SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS, 1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
MR.
SCHNABEL’ "UNTITLED" 2013
Credit 2014
Julian Schnabel/Artists Rights Society (ARS),
New
York and Karma, New York
+VII+2007.jpg)
UNTITLED (CHRIST’LAST DAY )
VII, 2007
Ink on polyester -
421.6 × 254 cm
© Julian Schnabel
LOLA 1989
Oil and gesso on
velvet - 274.3 × 304.8 cm
© Julian Schnabel/ Artists
Rights Society (ARS), New York
"JULIAN SCHNABEL: VIEW OF DAWN IN THE TROPICS:
PAINTINGS, 1989–1990" INSTALLATION VIEW
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
© 2014 Julian Schnabel/Artists Rights Society (ARS), New York
Photo by Rob McKeever
THE DAY I MISSED 1990 ( DETAIL )
THE
DAY I MISSED 1990
Oil,
Gesso on White Tarp 243,8 * 193 cm
Copyright
2014 Julian Schnabel All Rights Reserved
designed
by Julian Schnabel Studio
THE DAY I MISSED 1990 ( DETAIL )
FOX
FARM PAINTING III - 1989
Oil, Gesso on Velvet, 120 X 96"
Oil, Gesso on Velvet, 120 X 96"
Copyright
2014 Julian Schnabel All Rights Reserved
Designed
by Julian Schnabel Studio
FOX
FARM PAINTING VIII - 1989
Oil, Gesso Marker on Velvet,, 120 X 180"
Oil, Gesso Marker on Velvet,, 120 X 180"
Copyright
2014 Julian Schnabel All Rights Reserved
designed
by Julian Schnabel Studio
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JULIAN SCHNABEL
