Museum of Modern Art New York a Bedroom in Venice Sean Scully
FORT WORTH, TX .- The Modern Art Museum of Fort Worth presents a major retrospective exhibition of Sean Scully's nearly meaning works from the 1970s to the present. Sean Scully: The Shape of Ideas, organized past the Philadelphia Museum of Art, closely examines the Irish-born American artist's contribution to the development of brainchild in diverse media over a bridge of nearly v decades. These works, rarely shown together, highlight the close relationship betwixt the artist's paintings, drawings, prints, and pastels. The exhibition will be on view June xx through October x, 2021, and then will exist presented at the Philadelphia Museum of Fine art in the leap of 2022.
Timothy Rub, the George D. Widener Director and CEO of the Philadelphia Museum of Art said, "This exhibition will convey the richness and complexity of Scully'due south vision and will demonstrate the important place that he occupies in the still-unfolding story of abstraction. We are pleased to honor ane of this land's leading painters through an exhibition that explores the total telescopic of his artistic evolution."
The Shape of Ideas brings together 49 paintings and 42 works on paper that reflect the many phases of a long and varied approach to artmaking.
Marla Price, Director of the Modern and contributor to the exhibition's catalogue, notes, "Scully has spoken of his career as a 'rolling cannibalization,' in which he scavenges his ain work and that of others to expand, develop, and movement forward. The systematic elements in his early on works accept never really disappeared as he continues to explore dissimilar combinations of edifice units or motifs then pair them with emotion and content."
The earliest paintings included are three important works created when the artist, then based in London, was awarded a twelvemonth-long Frank Knox Fellowship to nourish Harvard Academy in 1972–73. This feel afforded Scully opportunities to visit New York, a major center for minimalist and abstract painting at the time. (Scully would move to New York permanently in 1975.) In these works, such every bit Harvard Frame Painting, 1972, Scully made experimental employ of the grid, applying record and spray paint beyond the canvass to compose paintings fabricated upwardly of vertical and horizontal stripes. Green Calorie-free, 1972–73, and Inset #2, 1973, are early examples of the artist's evolving motif of a "painting within a painting," which remains a hallmark of his exercise.
Scully'southward multi-paneled works represent a format that would occupy the artist's attention throughout the 1980s. In these paintings, he combined and re-combined panels to create larger and more than aggressive compositions. His work during this decade is characterized by its structured, simplified forms and increasing scale. Notable among these is Precious, 1981, his outset large multi-paneled painting, and Backs and Fronts, 1981, an viii x 20-foot work comprised of 12 fastened canvases that drew considerable notice when commencement exhibited at P.Due south.i at the Museum of Modern Art in 1982. These paintings are presented with ink sketches that illuminate Scully's experiments in colour, form, and calibration.
In 1982, Scully was awarded an artist's residency at the Edward Albee Foundation in Montauk, NY. The small paintings made there used scraps of wood that he found in the poet's barn, which he and then pieced together to create sculptural compositions in relief. Swan Island, Ridge, Bonin, and Elderberry, all painted in 1982, reflect some other turning bespeak in the artist's use of scale as his work became increasingly architectural. He continued to advance the ideas he explored in Montauk through Heart of Darkness, 1982, a colossal iii-console work, as well every bit The Fall, 1983, Tonio, 1984, and Falling Wrong, 1985. Around this time, Scully made the first of several trips to United mexican states, where he was particularly taken by its ancient architecture and local colour. These travels spurred him to undertake watercolor, as seen in Mexico Azul 12.83, 1983, which refers to the visual stimuli he experienced there.
By the 1990s, Scully began to extend his exploration of the inset and experiment with variations of the stripe in paintings, drawings, watercolors, pastels, and prints. In Uist, 1991, the inset device appears to float within the canvas and introduces a checkerboard motif, one further emphasized in works such as Union Yellow, 1994, and Four Days, 1995. In some cases, the moving-picture show is physically ready into the work like a window, equally exemplified in Stake Fire, 1988, from the Mod's collection, and Magdalena, 1993.
Scully's virtually well-known series is Wall of Light. Beginning in 1998, many of these were made in response to a particular location, sensation, or memory. Painted surfaces of vertical and horizontal bars (Scully calls them "bricks") suggest constructed walls of rock. His Wall of Light paintings led to closely related compositions, chief amidst them the Doric paintings.
Scully created his Doric series in homage to Hellenic republic, reflecting ideas of force, resilience, and stability. These are also frequently painted on aluminum, which enhances the event of smooth surface patterns and allows for new composite coloration. Many of the Doric works are shown together for the first fourth dimension here, including the monumental Iona, 2004–06, besides every bit Doric Pink Light, 2012, and Doric Hermes, 2012.
The exhibition concludes with work created in the last two decades that contains motifs and themes that Scully had been developing since the 1970s. Landlines, large gestural paintings comprising thick bands of color, are among the most minimalist that Scully has produced. These works announce a shift to a more expressive way, signaling new directions and possibilities for abstract painting.
Scully'southward virtuosity as a printmaker will also exist featured in a selection of color lithographs, woodcuts, etchings, and aquatints. Among the highlights are a series of color aquatints, each accompanied by the poetry of Spanish poet Federico Garc�a Lorca (1898–1936), as well every bit examples such as Wall of Low-cal Blue, 2000, and Twenty-four hour period, 2005, which reveal an ongoing relationship between his paintings and works on paper.
Exhibition co-curator Amanda Sroka, Banana Curator of Gimmicky Art at the Philadelphia Museum of Art, adds, "By integrating Scully's paintings and works on paper throughout this singular exhibition, we tin sympathize and appreciate the rich interrelationship among various media for which this artist is best known."
Sean Scully: The Shape of Ideas is authored by Timothy Rub, George D. Widener Managing director and CEO, with Amanda Sroka, Assistant Curator of Contemporary Art, both of the Philadelphia Museum of Fine art. Information technology is the first to thoroughly examine Sean Scully's art within a biographical context. Co-published by the Philadelphia Museum of Fine art and Yale University Printing, the catalogue presents an in-depth account of Scully's career and his about significant bodies of work, informed by all-encompassing interviews with the artist and comprehensive art-historical enquiry. The volume contains a preface by Marla Price, Director of the Modern Art Museum of Fort Worth and writer of Scully'south multivolume catalogue raisonn�; an extensive biographical, contextual, and formal reading offered past Timothy Rub; and an essay past the poet and art critic Kelly Grovier on the unique contribution Scully has made to the history of abstraction. Featured contributions include reprints of fundamental essays by William Feaver, Deborah Solomon, Donald Kuspit, Arthur C. Danto, and Michael Auping that contextualize Scully's work over the decades. 256 pages. ISBN: 9780876332955. $45.
Sean Scully (b. 1945) works in painting, drawing, printmaking, sculpture, and photography. Born in Dublin, raised in London, and having moved to the United States at the age of 30, the artist has tested the possibilities of abstract art to develop a fashion that is uniquely his own. He is the recipient of numerous awards, including the Peter Stuyvesant Foundation Prize, a National Endowment for the Arts Fellowship, a Guggenheim Fellowship, and the Harkness Fellowship, and he is a two-time Turner Prize nominee. Scully'southward works are in numerous private and public collections, including the Philadelphia Museum of Art, Mod Fine art Museum of Fort Worth, Hirshhorn Museum and Sculpture Garden in Washington, DC, Metropolitan Museum of Fine art in New York, and Wadsworth Athenaeum Museum of Fine art in Hartford, Connecticut. In 2015, Scully participated in the Venice Biennale with his solo exhibition Land Sea at the Palazzo Falier. For the 2019 Biennale, the artist presented Human being, a solo exhibition at the celebrated Basilica of San Giorgio. The upcoming retrospective will be artist's starting time of this scale in the United States since Sean Scully: Twenty Years, 1976–1995, curated past Ned Rifkin, presented in 1995 at the Hirshhorn Museum and Sculpture Garden. Scully currently divides his time living and working in New York and Bavaria.
Source: https://artdaily.com/news/136765/The-Modern-Art-Museum-of-Fort-Worth-presents--Sean-Scully--The-Shape-of-Ideas-
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