Julian Schnabel, the renowned artist and director, recently visited his new exhibition at the Pace gallery in Manhattan and was immediately disturbed by a folding table blocking the view of his paintings. Schnabel, known for his unconventional artistic vision, constantly rearranges his surroundings to create the perfect atmosphere. He once even replaced the artwork in a hotel room with drawings given to him by Cy Twombly. This compulsion to control his environment extends beyond his work on film sets.
After resolving the issue with the folding table, I assume the interview can commence, but Schnabel remains suspicious of me. Given his reputation for provocative and divisive work, it’s not surprising that he questions my presence. Instead of offering a generic response, I should have praised his greatness. Schnabel then quizzes me about his latest collection of velvet paintings, “Bouquet of Mistakes,” and seems disappointed that I only spent a short amount of time looking at them.
Wearing his signature white painting smock and a jaunty hat, Schnabel takes me on a tour of the exhibition. He gestures wildly, revealing his uncertainty about the placement and impact of his paintings in the space. He points out a painting called Gesù Deriso on a specially built wall, designed to hide an unsightly exit sign. Schnabel questions why someone would place it there, completely ignoring any fire regulations. However, he finds that the new wall works well and likens it to an altarpiece. He discusses the symbolism and meaning behind the paintings, asking me what my article is about. Caught off guard, I struggle to find a clear answer.
Throughout the interview, Schnabel mentions celebrities, as he typically does within the first 20 minutes. He emphasizes that paintings don’t explain themselves like movies do, but they have a unique way of communicating with sensitive viewers. He shares that his friend Tom Waits praised his paintings, highlighting their unspoken impact. Schnabel believes painting allows for a lasting connection with people, even after he’s gone, unlike the transient nature of human existence.
When asked if politics influences his work, Schnabel admits that it did play a role in one of his recent pieces, “The Nine Skies and the Mountain Fortress IV.” He elaborates on his agitation during the 2020 election and reveals that he drafted a concession speech for Donald Trump. However, his attempts to communicate with Ivanka Trump, a known art collector, yielded no response. Despite this, Schnabel claims he doesn’t care who buys his work, except for a period when black people in South Africa were unable to view his art.
In a change of scenery, we relocate to a bench in the lobby. I inquire about the meaning behind the exhibition title, “Bouquet of Mistakes.” However, Schnabel becomes distracted by video screens displaying a corporate-looking slideshow. He quickly requests to have it turned off, finding it offensive to the overall aesthetic of the gallery. Afterward, Schnabel dodges my question about the meaning behind the title by redirecting the conversation to various books and films he believes I should have read to understand his artistic process. He mentions “Andrei Rublev” by Tarkovsky, stressing the importance of seeing this film.
Overall, Schnabel’s interview showcases his idiosyncrasies as an artist and his desire for absolute control over his environment. He challenges conventions and provokes strong emotional reactions through his work, earning both praise and criticism. Schnabel’s dedication to his vision and his constant need for rearrangement reflect his unparalleled artistic passion.
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