Read more
At thirty-six, Julian Schnabel was not only represented in the most important exhibitions of his time; retrospectives of his works were already being celebrated in major museums such as the Stedelijk Museum, the Tate in London, or the Centre Pompidou in Paris. He writes this book, CVJ, and gives an account of his life: how he leaves Texas in 1973 to return to his hometown of New York City, hangs out in Max's Kansas City, meets Sigmar Polke, Blinky Palermo, Ross Bleckner, and numerous other people in the scene, and even travels to Europe to study the Old Masters-experiences and observations that are both poetic and amusing to read. And at the same time it is fascinating to see the oeuvre he had produced up to that point: the Plate Paintings with their splintered surfaces, paintings in oil and wax, on velvet and tarpaulins, with "dirt" and cracks and objets trouvés that project into space, drawings, and sculptures. What is striking is their influence on younger generations of artists and on the current debate on painting.
About the author
Dr. Petra Giloy-Hirtz ist Kuratorin und Autorin zahlreicher internationaler Ausstellungen und Publikationen zur zeitgenössischen Kunst. Sie war zehn Jahre lang Assistentin und Akademische Rätin für mittelalterliche Literatur an der Heinrich-Heine-Universität Düsseldorf und Lehraufträge an der Ludwig-Maximilians-Universität München, seit 1993 ist sie freie Kuratorin, z.B. für das Diözesanmuseum des Erzbistums München und Freising (1998-2005). Ausstellungen mit Kiki Smith, Robert Longo, Olafur Eliasson, Geoffrey Hendricks, Mark Harrington, Lawrence Carroll, Kai Althoff u.v.a., Projektleiterin des Kulturreferenten der Stadt München (1998-2000).
Summary
At thirty-six, Julian Schnabel was not only represented in the most important exhibitions of his time; retrospectives of his works were already being celebrated in major museums such as the Stedelijk Museum, the Tate in London, or the Centre Pompidou in Paris. He writes this book, CVJ, and gives an account of his life: how he leaves Texas in 1973 to return to his hometown of New York City, hangs out in Max’s Kansas City, meets Sigmar Polke, Blinky Palermo, Ross Bleckner, and numerous other people in the scene, and even travels to Europe to study the Old Masters—experiences and observations that are both poetic and amusing to read. And at the same time it is fascinating to see the oeuvre he had produced up to that point: the Plate Paintings with their splintered surfaces, paintings in oil and wax, on velvet and tarpaulins, with “dirt” and cracks and objets trouvés that project into space, drawings, and sculptures. What is striking is their influence on younger generations of artists and on the current debate on painting.
