ARTRIX - Scene 2c
Julian Schnabel is working as a chef at the Great Resturaunt.
On the kitchen door leading to the alley there is a knock.
Schnabel: Who is it?
Delivery Boy: Delivery boy.
Schnabel pushes a reb button near the stove and the door
swings open with a buzz.
Delivery Boy: You got the pizzas? The pizzas...of art?
Schnabel: Sigh. You got the work order?
Delivery Boy: Yeah. Hey, think you could show me the system?
I am taking the place of Vitto. He had an unfortunate accident. They think Greenberg's
guys were after him.
Schnabel: Damn Greenberg. He is always sticking his snooty nose
into our business. Yeah, I'll show you around. Follow me.
Schnabel leads him to a large stainless steel refrigerator
and lifts it like a garage door, revealing a cooridor. They walk down it and descend
stairs into a large room full of tubes emitting sharp pneumatic hisses. There
is a stack of paintings near a large tube labelled "New York."
Schnabel: We have quite a system down hear. The whole concept
bothers me, but Surburbia didn't give me much of a choice.
Delivery Boy: Care to ellaborate?
Schnabel: No.
Delivery Boy: Then why did we come down here?
Schnabel: Sigh. Sorry, I was distracted by what I thought was
conscious content in one of the pieces. Anyway, each one of these tubes leads
to a different center of art. The big ones go to New York and Paris, the smaller
go to LA, Siox City, et cetera. I don't really know what happens to the art, but
it must be used for something because I keep getting checks and instructions to
make more to various specifications. I'm assume the work order wants more broken
plates?
Delivery Boy: It says there should be one piece that can be titled
What to Do with a Corner in Madrid, needs to be oil and wood and plates;
89x96 inches. Ship to New York ASAP. Second piece will be called Dead Drawing,
no size requirements although it must be on paper. The desired concept is to call
into question different pictorial areas pushed to an explosive extreme. Composition
must be symetrically organized, but very active.The third piece must be titled
Last of Her Line and have inlaid squares and the color purple. Schnabel,
do you really follow these instruction so explicitly?
Schnabel: Yes, but as you can see there is a lot of room for
interpretation. However, that doesn't mean I add intellectual content to my pieces.
It is basically what looks good to to me at the time. I go for cool. It is just
a big game of BS. My art is done by instinct and doesn't take much time or energy.
The raw art I create is ambiguous, allowing the viewer to extrapolate any meaning
they want. People certainly do. The theories I have heard about why I use plates
often center around a trip to Spain that I never took. They say the architecture
of Antoni Gaudi influenced me. Pure BS, but logical and money making. Critics
have to talk about something—damn Greenberg—and I make their job easier
by including some recognizable motifs. They imply nothing more than the other
elements of the art, and if I put any meaning in my pieces, it is completely subconscious.
He puts the three requested pieces into the New York tube.
onward to New York...
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