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Vito Schnabel Gallery

@vitoschnabelgallery

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New York | St. Moritz
Founded in 2003

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Julian Schnabel’s ‘Insomnolent Brown Trimmed in Mink’ (1980) will be on view in our presentation at Frieze Masters, opening this week at The Regent’s Park in London. The painting belongs to a pivotal period in the artist’s early career; painted in oil and wax, the work reflects Schnabel’s early investigations of surface, imagery, texture, and material.

“What is this painting? What can coexist in a painting? What goes in a painting?

Painting is questioning what imagery is. The three dimensionality of these yellowish marks, they’re sticking above the surface. They’re very physical, and the black drawing on the green is very much like a sketch. There’s all these different kinds of ideas about pictorality and things that obviously contradict each other.

This painting was done after I made the first plate painting in 1978. I continued to make wax paintings and plate paintings at the same time, due to the fact that I didn’t want to make only one kind of painting or just go from flat paintings to paintings that were three-dimensional. There was a kind of confluence of ideas about space and about subject matter. It’s an important painting. Art can come from anywhere, from a fashion drawing, from wallpaper, from somebody else’s painting, from Renaissance painting, from just a piece of iron that might be outside of your house.”

- Julian Schnabel

@FriezeOfficial
#FriezeMasters
@julianschnabelstudio

Frieze Masters
Vito Schnabel Gallery
October 14-18, 2026
The Regent’s Park
London, UK

Artwork:
Julian Schnabel
‘Insomnolent Brown Trimmed in Mink’, 1980
Oil and wax on canvas
96 x 84 inches (243.8 x 213.4 cm)
© Julian Schnabel Studio; Photo by Argenis Apolinario; Courtesy the artist and Vito Schnabel Gallery by @vitoschnabelgallery

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4 hours ago

Congratulations to Daniel Humm on the opening on his first eponymous restaurant, HUMM! Located in New York’s West Village, HUMM brings together food, art, and design in collaboration with architect Pierre Yovanovitch and a selection of leading contemporary artists.

At the center of the restaurant is a newly commissioned ceiling mural by Francesco Clemente, continuing his longstanding collaboration with Humm following the 2024 opening of Clemente Bar. Spanning the main dining room, Clemente’s hand-painted fresco creates an immersive environment within the restaurant’s intimate interior.

The space also features works by Rashid Johnson, including ‘Untitled Homes’ (2026), alongside works by Louise Bourgeois and Roni Horn. Johnson’s inclusion continues his longstanding relationship with Humm, whose restaurants have featured the artist’s work over the years.

HUMM opens today at 435 Hudson Street in New York’s West Village.

@hummrestaurant
@clementestudio
@rashidjohnson

Read more about it in the Financial Times recent article by visiting the link in our bio.

Images © Jonah Rosenberg, Jason Varney and Adrian Gaut by @vitoschnabelgallery

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2 days ago

Ai Weiwei’s ‘Wheat Field with Crows’ (2024) will be featured in our upcoming exhibition Ai Weiwei: ‘Illumination’, opening October 28 at our New York gallery.

Ai Weiwei’s toy brick works encompass many concepts central to his practice: appropriation, mass-production, and fragmentation. The images the artist chooses are conspicuously recognizable: some are photographs from newspapers, others from art history; all are entangled with controversy. In ‘Wheat Field with Crows’, Ai Weiwei recreates Vincent van Gogh’s ‘Wheatfield with Crows’ (1890) in toy bricks, replacing the birds that populate the turbulent sky with drones. While Van Gogh’s original is often associated with the artist’s increasingly troubled state of mind near the end of his life, Ai’s substitution introduces a distinctly contemporary image of unrest. Drones, now used across fields ranging from surveillance and photography to military operations, transform the familiar landscape into a reflection on the technological realities and conflicts of the present day.

@aiww

Ai Weiwei: ‘Illumination’
455 West 19th Street
New York, NY 10011
Opening October 28, 6-8 PM
On view through January 23, 2027

Artwork:
Ai Weiwei
‘Wheat Field with Crows’, 2024
Toy bricks mounted on aluminum
63 x 126 inches (160 x 320 cm)
© Ai Weiwei; Courtesy of Ai Weiwei Studio by @vitoschnabelgallery

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3 days ago

Jean-Marie Appriou’s ‘The Big Watcher’ and ‘The Big Traveler’ (2020) are now on view as the latest addition to the sculpture park at Kunstmuseum Schloss Derneburg in Holle, Germany.

With ‘The Big Traveler’ and ‘The Big Watcher’, Appriou brings two monumental aluminum figures into being, their imposing presence contrasting with the contemplative state that seems to inhabit them. Between movement and stillness, they invite us to explore what lies at the threshold of the visible, where tangible reality meets the visions of the imagination. True to an artistic world nourished by myths and populated by a rich bestiary, Appriou casts ‘The Big Traveler’ as a figure of the quest. Its journey seems to extend beyond the space it traverses, as though thought itself were finding a path towards the unknown. The viewer is invited to accompany this inward voyage, to shift their gaze and open their perception to what lies beyond them. ‘The Big Watcher’, meanwhile, pauses its movement. Motionless, absorbed in a vision we cannot see, it seems to have encountered what the traveler is still seeking. Its attentive presence lends anticipation the intensity of an event: something is appearing, or is about to appear. Together, the two sculptures bring the quest into dialogue with contemplation.

#JeanMarieAppriou

Artwork:
Jean-Marie Appriou
‘The Big Watcher’, ‘The Big Traveler’, 2020
Cast aluminum
177 x 98 x 39 inches (450 x 250 x 100 cm) each
© Jean-Marie Appriou; Photo by Franziska Lenferink by @vitoschnabelgallery

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5 days ago

Man Ray’s 1972-1973 sculpture ‘Fisherman’s Idol’ will be featured in our upcoming presentation at Frieze Masters this October 14-18 at The Regent’s Park in London.

Titled ‘Fisherman’s Idol’ for its evocation of a sailor’s talisman or an ancient idol, Man Ray’s enigmatic sculpture was cast in bronze in 1972-1973 from an original wood and cork assemblage. The original iteration of ‘Fisherman’s Idol’ was first exhibited in 1926. The same year, a photograph of the work was included in ‘La revolution surréalist’, a scandalous and revolutionary journal published by the Surrealists in Paris from 1924 to 1929 (‘La revolution surréalist’, No. 8, page 25). A pioneer of both Dada and Surrealism, Man Ray often incorporated found objects in his practice. Immortalized in bronze, the cork and wood construction demonstrates the Surrealist’s interest in found objects, mythology, and non-Western art.

@FriezeOfficial
#FriezeMasters

Frieze Masters
Vito Schnabel Gallery
October 14-18, 2026
The Regent’s Park
London, UK
Booth A06

Artwork:
Man Ray
‘Fisherman’s Idol’, 1972-1973
Bronze with dark brown patina
16 x 4 x 4 inches (40.6 x 10.2 x 10.2 cm)
Edition of 9 + 3 AP
© 2026 Man Ray Trust / Artists Rights Society (ARS), New York; Photo by Argenis Apolinario; Courtesy of Vito Schnabel Gallery by @vitoschnabelgallery

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7 days ago

Julian Schnabel’s ‘Self Portrait (End of the Day in the Engadin Valley)’ (2025) is currently on view at the Oklahoma Contemporary Arts Center for the exhibition ‘Clever, Quick, Magnetic: The Art of Witty Banter,’ curated by David Salle.

‘Clever, Quick, Magnetic: The Art of Witty Banter’ explores how paintings can feel connected even when they appear visually distinct. The exhibition considers how artists balance deliberation with spontaneity, and how that tension gives each work its particular character. When viewed together, the paintings reveal a shared openness and curiosity, as well as a decisiveness that binds them from within.

A central question posed by the exhibition is whether a painting can possess something akin to a personality. Can a work of art seem alive in the way it guides the eye across its surface, or in how it sustains tension, energy, or calm? Approaching painting in this way offers insight into why certain works feel expressive or emotionally charged.

‘Clever, Quick, Magnetic: The Art of Witty Banter’
Curated by David Salle
Oklahoma Contemporary Arts Center
September 3, 2026 - January 11, 2027

@julianschnabelstudio
@okcontemporary

Images:
1-2. Installation view of ‘Clever, Quick, Magnetic: The Art of Witty Banter.’ On view at Oklahoma Contemporary Arts Center Sept. 3, 2026 - Jan. 11, 2027. Photo by Blake Studdard.
3. Julian Schnabel, ‘Self Portrait (End of the Day in the Engadin Valley)’, 2025, Oil, plates, and bondo on aluminum, 72 x 60 x 9 3/4 inches (182.9 x 152.4 x 24.8 cm); © Julian Schnabel Studio; Photo by Tom Powel; Courtesy the artist by @vitoschnabelgallery

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10 days ago

Following his recent exhibition ‘Ai Weiwei: Aftershock’ at MAXXI L’Aquila, a new site-specific work by Ai Weiwei was unveiled on September 19th at the Palazzo dell’Emiciclo in L’Aquila, Italy. ‘Figure and Wheelbarrow for L’Aquila’ depicts the artist himself pushing a construction wheelbarrow, immersing himself in the city’s reconstruction initiatives following the devastating April 2009 earthquake.

“In July 2025, during a visit to L’Aquila, Ai Weiwei walked through the historic center, pausing to observe the monuments and the numerous construction sites still involved in the reconstruction process. That experience sparked the idea of transforming one of the most common objects found on construction sites—the wheelbarrow—into a symbol of the city. In the sculpture, the construction tool becomes a metaphor for a broader process: it represents daily labor, the effort required to rebuild, and the toil involved—but also the ability to look toward the future and start anew. For Ai Weiwei, this choice also takes on an autobiographical dimension. The wheelbarrow evokes memories of his childhood and his relationship with his father, Ai Qing, a Chinese poet who wrote a poem titled ‘Wheelbarrow’.”
- Redazione, Finestre sull’Arte

The project is curated by Giacinto di Pietrantonio and is promoted and supported by the Carispaq Foundation, the Terzo Pilastro Internazionale Foundation, the Regional Council of Abruzzo, the City of L’Aquila, the L’Aquila Capital of Culture 2026 Coordinating Committee, and ANCE L’Aquila, with support from Galleria Continua and the MU6 Association.

Visit the link in our bio to learn more about Ai Weiwei’s recent work.

@aiww

Photo: InsideArt.com by @vitoschnabelgallery

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12 days ago

Opening October 9, the Palazzo Reale in Milan will present ‘Picabia. Open the Gates of Night,’ the largest exhibition ever held in Italy dedicated to Francis Picabia.

Featuring more than 170 works, including paintings, drawings, photographs, documents and archival materials from international collections, the exhibition’s itinerary explores Picabia’s night as a metaphor for life, desire and reinvention, revealing the creative universe of an artist in constant transformation.

Included in this selection will be Picabia’s 1930-1931 oil painting ‘Saint Antoine,’ depicting the paroxysmal form of a series of works initiated by Picabia in 1927: the Transparencies. The name of this series stems from the technique used by Picabia, which involves virtuously juxtaposing images and forms to create the sensation of a third dimension. While the first works of this emblematic cycle date back to 1927, Picabia inaugurated the second period of the Transparencies in 1929 comprising increasingly complex and refined works that led him in 1930, the year Saint Antoine was executed, to a new vantage point present in this painting.

‘Picabia. Open the Gates of Night’
October 9, 2026 - January 24, 2027
Curated by Anne Berest Picabia
Produced by MADEINART (@madeinart)
Palazzo Reale
Milan, IT

#FrancisPicabia

Artwork:
Francis Picabia
‘Saint Antoine’, c. 1930 - 1931
Oil on canvas
76 3/4 x 51 1/8 inches (195 x 130 cm)
84 1/2 x 59 1/4 x 2 1/2 inches (214.6 x 150.5 x 6.3 cm) framed
© 2026 Artists Rights Society (ARS), New York; Photo by Argenis Apolinario; Courtesy of Vito Schnabel Gallery by @vitoschnabelgallery

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14 days ago

Happy birthday Rashid Johnson!

Looking back at our 2013 show ‘White Collar Crimes’ at Acquavella Galleries, a group show featuring Rashid Johnson. The exhibition, curated by Vito Schnabel, presented an unexpected collaboration between conceptually rigorous emerging artists and a gallery with a legacy for blue chip exhibitions of modern masters.

In her essay in the exhibition catalogue, Agnes Gund wrote: “Rashid Johnson’s ‘Our People, Kind Of’ plays with abstraction and reality in a similarly calculated way. He incorporates everyday “domestic” materials into conceptually dense and visually engaging multimedia installations. He uses his personal history and perspective to examine the effect of abstraction on constructed objects and signifiers, which results in a profoundly distinctive narrative that comments on both black culture and racial identity.”

‘Our People, Kind of’ (2010) is now in the permanent collection of the Museum of Modern Art, New York.

Installation view of Rita Ackermann and Rashid Johnson in White Collar Crimes, Curated by Vito Schnabel, Acquavella Galleries, New York, 2013. Photo by Kent Pell

Rashid Johnson
‘Our People, Kind of’, 2010
Black soap, wax, welded brass, books, spray paint, plants, wood, and shea butter
110 1/4 x 200 x 9 inches (280 x 508 x 22.5 cm)

Rita Ackermann
‘Fire By Days XXI,’ 2012
Oils, pigments, acrylic medium with sand, spray paint on canvas
65 x 62 inches (165 x 157.5 cm) by @vitoschnabelgallery

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17 days ago

Rene Ricard’s 1997 ‘Spring Rain’ will be featured in our upcoming presentation at Frieze Masters this October 14-18 at The Regent’s Park in London.

In the late 1980s, Ricard began to develop his poems into paintings. The artist’s fevered imagination, fierce wit, and intellectual acumen, along with his famed bon vivant demeanor and talent for conversation, flow through the stream-of-consciousness poetry central to works like Spring Rain (1997). Fellow art critic Robert Pincus-Witten attributed Ricard’s ‘poem paintings’ to a strategy rooted in early modernism, connecting him to a lineage that included the calligrams of Guillaume Apollinaire and the picture poems of the Surrealists. In a pastel palette and loopy, cursive script, the multi-hyphenate artist seamlessly combines visual and literary culture.

@FriezeOfficial
#FriezeMasters

Frieze Masters
Vito Schnabel Gallery
October 14-18, 2026
The Regent’s Park
London, UK
Booth A06

Artwork:
Rene Ricard
‘Spring Rain’, 1997
Oil on canvas in 2 parts
80 x 30 inches (203.2 x 76.2 cm)
© Estate of Rene Ricard; Photo by Argenis Apolinario; Courtesy Vito Schnabel Gallery by @vitoschnabelgallery

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18 days ago

Congratulations to Angel Otero on the release of his monograph by Hauser & Wirth Publishers! To celebrate the launch and on the occasion of NY Art Book Fair, Otero will speak in conversation with Ursula magazine’s Editor in Chief Randy Kennedy at Hauser & Wirth 18th Street on September 25 at 5PM.

After gaining attention for his experimental abstract oil paintings in the early 2010s, the Puerto Rican artist Angel Otero began to pursue a bold new direction, merging his acclaimed form of abstraction with figurative elements to create multilayered, dreamlike scenes that synthesize the observed and the imagined into powerful meditations on memory and identity. This book explores recent developments in the artist’s work, culminating in his highly anticipated 2026 exhibition at Hauser & Wirth in Somerset. Alongside insightful essays by curators Tobias Ostrander and John Tain, a conversation between Otero and curator Julie Rodrigues Widholm explores the artist’s singular practice in his own words, while studio photography documents his labor-intensive process of layering, peeling, and collaging oil paint.

Copies of ‘Angel Otero’ will be available for purchase at the event. Angel Otero will be available to sign books after the reading.

Reservations are required. Please visit the link in our bio to register.

Otero is currently the subject of a solo exhibition ‘The Ocean Forgot Your Garden’ at the Newport Art Museum in Rhode Island through January 10, 2027.

@oteroso by @vitoschnabelgallery

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21 days ago

Happy birthday to Trey Abdella!

@mysticfishstick

Artwork:
Trey Abdella
‘Daybreak’, 2024
Acrylic on linen
70 x 51 inches (177.8 x 129.5 cm)
© Trey Abdella; Photo by Shark Senesac; Courtesy the artist and Vito Schnabel Gallery by @vitoschnabelgallery

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24 days ago