The VAEA is honored to\u00a0award\u00a0Julian Schnabel with our highest award The Paez Medal of Art, whose contribution to the visual arts and film reflects the tremendous vitality and artistic passion of an exceptional contemporary American artist.<\/p>\n
“Must we learn again the simple, forthright experience of actually seeing a painting?<\/p>\n
This may in fact be an essential aspect of the work of Julian Schnabel-painting on wood, on broken crockery, on the paint itself-demanding that we look, and look again, that we move forward from the American tradition of seeing art as decoration, as the safe refuge promised by the New York Times section labeled “Arts and Leisure,” equating one with the other, and thus putting a fine spin on this oxymoron in fashionable use on all sides today.<\/p>\n
In his relentless search for authenticity, the artist works to please himself in a constant process of discovery through the very experience of the making of art, and then seeking opportunities for it to prevail. Traveling abroad, he may encounter other cultural versions of himself, or as Julian Schnabel did in reviving the long abandoned wreckage of the Cuartel del Carmen in Seville with a battle standard painted “Idiota,” opening himself to a discovery in the past, in history, even in time itself. Nearer home, do his gigantic paintings on old army tarpaulins dragged through the dirt open new avenues for discovery in our own culture, and ask us to look again? I think so.”<\/p>\n
William Gaddis,\u00a0For Julian Schnabel<\/em>, 1998<\/p>\n\n\n\n\n\n About\u00a0Julian Schnabel<\/h2>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n Julian Schnabel is a prolific painter, sculptor, and filmmaker with multifaceted creativity. He belongs to a generation of extraordinary artists who emerged in the international art scene in the 1980s. Born in Brooklyn in 1951, Schnabel studied fine arts at the University of Houston, Texas in 1969, and moved back to New York in 1973. While traveling in Europe he was particularly moved by the\u00a0Park G\u00fcell<\/em>\u00a0of Catalonian architect Antoni Gaud\u00ed in Barcelona. He participated in Harald Szeemann’s exhibition at the Venice Biennale in 1982, and was the youngest artist in the legendary exhibition\u00a0A New Spirit in Painting<\/em>, alongside Francis Bacon, Georg Baselitz, Pablo Picasso, Sigmar Polke, among others, at the Royal Academy of Arts in London. In 1979, after his first exhibition in New York City, he became known to a wider audience for his large-scale paintings set on broken plates.<\/p>\n\n Schnabel’s paintings, sculptures, and works on paper have been the subject of numerous exhibitions in prestigious galleries and museums all over the world: the Stedelijk Museum Amsterdam, 1982; Tate Gallery, London, 1982; Whitechapel Gallery, London, 1986; Kunsthalle Du\u0308sseldorf, Germany, 1987; Centre Georges Pompidou, Paris, 1987; Whitney Museum of American Art, New York, 1987-1988; San Francisco Museum of Modern Art, 1988; Museum of Fine Arts, Houston, 1988; Museum fu\u0308r Gegenwartskunst, Basel, 1989; Mus\u00e9e d’art contemporain de N\u00eemes, France, 1989-1990; Staatliche Graphische Sammlung Mu\u0308nchen, Munich, 1990; Palais des Beaux-Arts, Brussels, 1990; The Fruitmarket Gallery, Edinburgh, 1990; Museum of Contemporary Art Chicago, 1990; Museo de Monterrey, Mexico, 1994; Fundaci\u00f3 Joan Mir\u00f3, Barcelona, 1995; Galleria d’Arte Moderna di Bologna, Italy, 1996-1997; Schirn Kunsthalle Frankfurt, 2004; Museo Nacional Centro de Arte Reina Sof\u00eda, Madrid, 2004; Museo di Capodimonte, Naples, 2009; Art Gallery of Ontario, Toronto, 2010-2011; Museo Correr, Venice, 2011; The Brant Foundation Art Study Center, Greenwich, Connecticut, 2013-2014; Dallas Contemporary, 2014; Museu de Arte de S\u00e3o Paulo, 2014; NSU Art Museum Fort Lauderdale, Florida, 2015; Aspen Art Museum, Colorado, 2016-2017; the Legion of Honor, San Francisco, 2018; Mus\u00e9e d’Orsay, Paris, 2018; and ARoS Aarhus Kunstmuseum, Aarhus, 2018.<\/div>\n <\/div>\n<\/div>\n <\/div>\n In 1996 he made the film\u00a0 Basquiat<\/em>, which he wrote and directed. In 2000 he released his second film,\u00a0Before Night Falls<\/em>, based on the life of the late exiled Cuban novelist Reinaldo Arenas; both films were selected and awarded prizes at the Venice Film Festival. In 2007 Schnabel directed his third film,\u00a0The Diving Bell and the Butterfly<\/em>. He received the award for Best Director at the Cannes Film Festival as well as Best Director at the Golden Globe Awards, where the film won Best Foreign Language Film.\u00a0The Diving Bell and the Butterfly<\/em>\u00a0was nominated for four Oscars. That same year, 2007, Schnabel made a film of Lou Reed’s\u00a0Berlin<\/em>\u00a0concert at Saint Ann’s Warehouse in Brooklyn, New York. Following that, his film\u00a0Miral\u00a0won the UNESCO as well as the UNICEF award at the 2010 Venice Film Festival.\u00a0Miral<\/em>\u00a0was shown at the General Assembly Hall of the United Nations.\u00a0Schnabel’s most recent film,\u00a0At Eternity’s Gate<\/em>\u00a0(2018), with Willem Dafoe as Vincent Van Gogh, premiered at the 2018 Venice Film Festival, where Mr. Dafoe won the Coppa Volpi for Best Actor, and was also nominated for Best Actor at the Golden Globes at the 2019 Academy Awards.<\/div>\n<\/div>\n \n About Schnabel\u00a0&\u00a0Benacerraf<\/h2>\n<\/div>\n<\/div>\n \n This year VAEA is honoring with the Paez Medal of Art 2019 for the first time two filmmakers, these artists use film as a medium of expression after exploring others. Margot Benacerraf studied philosophy and literature and has always been a conscious writer; by using faces, shapes, and movement she composes in her films a minute- essay on the human condition. Julian Schnabel is a gifted artist who burst onto the art scene in the 1980s, seeking a way out of abstraction; he created iconoclast works that later on in his artistic career flawlessly transformed into moving images; configuring an eloquent narrative of forms. Challenging film critic Andr\u00e9 Bazin’s proposition that film and painting are mutually exclusive, Schnabel seeks in the subject of painting the connection to that centrifugal creative force that prolonged indefinitely into the universe. In a similar manner, the young Margot Benacerraf played with her camera to mimic the ritual dance of the artist she was filming to discover that she was also painting the evanescent reality of a film. The creative process equally fascinates Margot Benacerraf and Julian Schnabel: how does creativity work? Is it possible to capture it on camera?<\/p>\n \n\n\n\n\n Both filmmakers attempt to recreate those moments when mind and body coincide to produce art, unveiling in the process the limits of human reasoning to understand the complexities of the creative mind. In their films\u00a0 Reveron<\/em>\u00a0(1959) and\u00a0At Eternity’s Gate\u00a0<\/em>(2018), Benacerraf and Schnabel explore the infinite realities elicited by painting, appealing ultimately to the fundamental fraternal quality motivating every artistic creation.<\/div>\n\n <\/div>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n \n\n\n\n\n \n \n \n <\/div>\n <\/div>\n Texts by: Mario Valero, Assistant professor<\/div>\n Fashion Institute of Technology New York<\/div>\n VAEA’s advisory board member<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<\/div>\n<\/div> <\/div>\n\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div> \n\t\t\t\t\t \n\t\t\t\t\t\t VAEA tiene el honor de premiar a Juli\u00e1n Schnabel con nuestro galard\u00f3n m\u00e1s alto: la Medalla P\u00e1ez de Arte, cuya contribuci\u00f3n a las artes visuales y el cine refleja la enorme vitalidad y la pasi\u00f3n art\u00edstica de un excepcional artista estadounidense contempor\u00e1neo.<\/span><\/p>\n\u201c\u00bfHay que aprender de nuevo lo simple, la experiencia directa de ver en realidad una pintura?<\/p>\n Esto puede ser en verdad, un aspecto esencial de la obra de Juli\u00e1n Schnabel -pintura sobre madera, en vajilla rota, en la pintura misma, exigiendo en s\u00ed mismo lo que miramos y buscar de nuevo, lo que movemos hacia adelante desde la tradici\u00f3n americana de la b\u00fasqueda del arte como decoraci\u00f3n , como el refugio seguro prometido por la secci\u00f3n New York Times bajo el nombre de \u201cArtes y Esparcimiento\u201d, igualando uno con el otro, y poniendo as\u00ed, un fino giro a este ox\u00edmoron o contradicci\u00f3n que est\u00e1 \u00a0de moda hoy en d\u00eda y en todas partes.<\/p>\n En su incesante b\u00fasqueda de la autenticidad, el artista trabaja para complacerse a s\u00ed mismo en un proceso constante de descubrimiento, a trav\u00e9s de la propia experiencia de la creaci\u00f3n art\u00edstica y luego buscando oportunidades para que prevalezca. Al viajar al extranjero, pudo encontrarse con otras versiones culturales de s\u00ed mismo, o como Juli\u00e1n Schnabel hizo en la reactivaci\u00f3n de los restos abandonados a lo largo del Cuartel del Carmen en Sevilla, con un \u201cIdiota\u201d, pintado en un estandarte de batalla, abri\u00e9ndose a s\u00ed mismo, a descubrirse en el pasado, en la historia, incluso en el tiempo mismo. M\u00e1s cerca del hogar, en sus pinturas hechas sobre gigantescas lonas viejas del ej\u00e9rcito, arrastradas por la suciedad que abren nuevas v\u00edas para el descubrimiento de nuestra propia cultura, \u00bfY nos piden qu\u00e9 mirar de nuevo? As\u00ed pienso.”<\/p>\n William Gaddis,\u00a0para Julian Schnabel<\/em>, 1998<\/p>\n | | |
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