Julian Schnabel’s exhibition in residence this summer at the Glass House in New Canaan is most astonishing as a study of contrasts, sparkling friction of aesthetics.
Schnabel went on to become a big celebrity and, to make up for the contempt, as the bad-boy superstar of the 1980s New York art scene. His paintings were huge, almost the size of a wall, and seemingly reckless. Some of the first ones were encrusted with broken plates. His entry in Art Story, an online guide to modern art, cites “his near-mania for excess” and his rejection of “minimalist asceticism.”
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