Intertextuality in Contemporary Art: An Analysis of Michael Andrew Law’s Series, ‘If Julian Schnabel Goes Pop’

In the realm of contemporary art, the dialogue between the past and the present often serves as a fertile ground for artistic exploration. This intersection of tradition and innovation is prominently manifested in Michael Andrew Law’s latest series, “If Julian Schnabel Goes Pop.” This paper aims to analyze how Law navigates this intertextual terrain, creating a body of work that engages with historical masterpieces while simultaneously advancing his unique artistic vision.

Law’s series comprises mixed media works on large linen canvases, a medium that offers a diverse range of visual and textural possibilities. Notably, Law’s choice of materials – oil, acrylic, glitter powder, and sparingly used diamond dust – evoke the classical method of mixing pigment powder with linseed oil. This intermingling of traditional and contemporary materials is emblematic of the series as a whole, establishing an intertextual relationship with the past while charting a distinctively modern artistic trajectory.

The series pays homage to a broad spectrum of iconic paintings, each reinterpreted through Law’s distinctive aesthetic lens. Canonical works such as da Vinci’s “Mona Lisa,” Picasso’s “Les Demoiselles d’Avignon,” Warhol’s “Monroe,” and Manet’s “Luncheon on the Grass” are rejuvenated through Law’s renditions, fostering a dialogue between these historical images and the present.

Beyond these well-known masterpieces, Law’s series also engages with works such as Édouard Manet’s “Olympia,” Johannes Vermeer’s “Girl with a Pearl Earring,” Helmut Newton’s 1980’s “The Big Nude,” Rembrandt’s “Self-Portrait with Two Circles,” Gerhard Richter’s “Tante Marianne,” and Jean-Michel Basquiat’s “Dos Cabezas.” In Law’s hands, these works are not mere reproductions; instead, each becomes a reinterpretation that invites viewers to engage with these familiar images from novel perspectives.

The intertextual nature of Law’s series extends beyond visual representation, incorporating elements of textual narration. Each piece features colorful text overlay, providing historical context for the images depicted. This stylistic choice, reminiscent of the practices of artists like Cy Twombly, Anselm Kiefer, Francis Picabia, and Julian Schnabel, adds narrative depth to the visual richness of the works.

The title of the series, “If Julian Schnabel Goes Pop,” is a tribute to Schnabel, whose innovative approach to art has significantly informed Law’s work. The hypothetical scenario it presents, of Schnabel exploring Pop Art, provides a framework for interpreting the series, positioning it at the intersection of homage and innovation.

In conclusion, “If Julian Schnabel Goes Pop” is a noteworthy exploration of intertextuality in contemporary art. By engaging with art history in a meaningful and innovative way, the series illuminates the transformative power of art, providing insight into how artists can draw from the past to create compelling new works. It stands as a testament to Law’s artistic vision, underscoring the enduring dialogue between tradition and innovation in the realm of artistic creation.