Julian Schnabel’s “View of Dawn in the Tropics, Paintings, 1989–1990” exhibited twelve largeno, hugeworks that reveal yet again that, for this artist, everything is up for grabs. Take, for example, the drop cloths, tarpaulins, and the paint-saturated sailcloths Schnabel used as brushes to spread paint upon his groundsthemselves fashioned from canvas or burlap or what have youthat become, in turn, new grounds or surrogate passages of paint.
For instance, the deeply impressive Ozymandias, 1990at thirteen by eighteen feet, rather the star of the showrecontextualizes a wrung-out rag of paint-saturated sailcloth as both relief element and painted passage smack dab in the middle of the work. The title nods to Shelley’s king of kings (“Look upon my works, ye mighty, and despair”) and to Cy Twombly, who first cleared a path for Schnabel by incorporating
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