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If I hung one of my paintings next to someone else's, I knew mine would kind of pop off the wall.

Julian Schnabel

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Julian Schnabel
Age: 73
Born: 1951
Born: October 26
Artist
Director
Drawer
Film Director
Painter
Photographer
Screenwriter
Visual Artist
New York City
New York
G'iuliʼan Shenabel
Julian C. Schnabel
Next
Paintings
Else
Hung
Someone
Pops
Kind
Mines
Would
Mine
Wall
Painting
Knew

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Everything I've seen becomes real once it becomes memory. The films I've seen are interchangeable with things that have really happened to me.
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I don't like building, I'm not a carpenter, I don't like constructions particularly and things like that, but placements and the kinds of psychological weight that different materials have is pretty interesting to me.
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I think style is a fringe benefit that looks like you made it.
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Maybe my work looks a little crazy, a little insane, but I don't really see myself as a crazy artist or a shaman artist.
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There were some types of sanctions that happen in the public world that made my work acceptable, where someone looks at the paintings and they don't - they may go, okay, and then look at it in a different sort of way. Instead of just looking at it as some type of wild art, they look at it in a historical perspective or context.
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It's nice to see your name in print. It's interesting.
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I think basically I'm a painter, but I would use anything to make my point.
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I wanted to show painting paintings first, then the plate paintings now I can show that I've sort of freed myself from stylistic inhibitions.
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There's been too much attention on marketing. Can't we just talk about the paintings?
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Sometimes my kids might tell me they had a dream or and maybe I'll paint some paintings from their dream. That's one good thing you get from your kids. Rob them of their dreams.
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Traditionally, photography is supposed to capture an event that has passed but that is not what I'm looking for. Photography brings the past into the present when you look at it...
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Paintings are not like the Internet. They're not like movies. They're not electronic-friendly. You have to go see them. You have to stand in front of them. That's the great thing about them.
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I'm not saying I'm the only Jewish person who cares about Palestinian people, but unfortunately, their voices are not necessarily heard as loudly as they should be.
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It doesn't matter what I think I am, it matters what I do.
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Can I find a poetic that can be subversive enough to grab people in some subliminal way, to where they feel that they are altered and have had an experience that belonged to them?
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I think beauty is a feeling that you get after you've had an experience. It's the way you feel about it that is beautiful.
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In a certain way, my work had set me up to be against lots of things. If there wasn't some sort of sanction for it in the public world, it might have been...it wouldn't have been tolerated, because people don't want things to get shaken up.
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Some people might think that the paintings are involved with a mythic - not just subject matter - but a certain sort of physical space that the paintings occupy...like personages.
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I work with things left over from other things.
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I don't think people are terribly interested in young artists who were doing interesting thing, but I don't think people are terribly interested in young artists.
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