A Quote by Julian Schnabel

I want the paintings to take me or the viewer out somewhere else. — © Julian Schnabel
I want the paintings to take me or the viewer out somewhere else.
I want the viewer to be overwhelmed. I want the space to feel like it is caving in on the viewer and that they are forcibly entering the world of my paintings. I want there to be a feeling of overpowering decadence to the work, that is almost too much to take. I don't want them to be subtle.
We always imagine that there's got to be somewhere else better than where we are right now; this is the Great Somewhere Else we all carry around in our heads. We believe Somewhere Else is out there for us if only we could find it. But there's no Somewhere Else. Everything is right here...Make this your paradise or make this your hell. The choice is entirely yours. Really.
This person, this self, this me, finally, was made somewhere else. Everything had come from somewhere else, and it would all go somewhere else. I was nothing but a pathway for the person known as me.
I want my paintings to give the viewer a true sense of reality - that includes but is not limited to depth, scale and a tactile surface as well as the real sense of what the subject looks like and is feeling at the time that I painted them. There should be a discourse between the viewer and the subject, to feel as though they are in a way connected. My goal is not to set a narrative but rather to have the viewer bring their own experiences to the painting and the subject as they would if they had seen the subject on the street in real life.
I want art to affect the viewer and for the viewer to take it away to enhance, embrace, and elevate life. That's the spiritual aspect. Painting is a spiritual practice, but sometimes it is hard to give up control!
Man, there's another freedom out there, and it comes from somewhere else, and that somewhere else is the place I'm interested in.
Photographers want to reinvent you, to take you somewhere else, to show you in a completely different way. They look at your previous work, and try to figure out what they can do to show a new side of you.
In virtual reality, we're placing the viewer inside a moment or a story... made possible by sound and visual technology that's actually tricking the brain into believing it's somewhere else.
I have always wanted to make paintings that are impossible to walk past, paintings that grab and hold your attention. The more you look at them, the more satisfying they become for the viewer. The more time you give to the painting, the more you get back.
If I want to take a particular form of blues somewhere else I have the equipment to do it but I never even thought of it.
Somewhere a bicycle bell rings. Somewhere else there's a war on. Somewhere else people turn to shadows and powder in an instant and the streets turn to funnels and light the sky with their burning. Somewhere a war is over.
What is it we want out of travel? Is it to take snapshots of ourselves in front of famous monuments, surrounded by other tourists? To eat unfamiliar food chosen from unintelligible menus? To earn frequent-flier miles? No. It's to glimpse what life is like somewhere else.
You don't want to pitch a tent and live inside the Louvre. You want to check it out, appreciate it, and move somewhere else.
The real change that paintings undergo is in the perceptions of the viewer.
I cater to a viewer because that viewer's taste matters more than anyone else's, and I will keep him first in mind and then, if it also appeals to the critics, so be it.
There must be an open space in the paintings - an entry space for the viewer, or even for me. Just white space where you can get into it.
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