Artist's Books / Special Editions
Almond, Darren: All Things Pass
Almond, Darren / Blechen, Carl: Landscapes
Brown, Glenn: And Thus We Existed
Butzer, André: Exhibitions Galerie Max Hetzler 2003–2022
Chinese Painting from No Name to Abstraction: Collection Ralf Laier
Choi, Cody: Mr. Hard Mix Master. Noblesse Hybridige
Demester, Jérémy: Fire Walk With Me
Dienst, Rolf-Gunter: Frühe Bilder und Gouachen
Dupuy-Spencer, Celeste: Fire But the Clouds Never Hung So Low Before
Ecker, Bogomir: You’re NeverAlone
Elmgreen and Dragset: After Dark
Förg, Günther: Forty Drawings 1993
Förg, Günther: Works from the Friedrichs Collection
Galerie Max Hetzler: Remember Everything
Galerie Max Hetzler: 1994–2003
Gréaud, Loris: Ladi Rogeurs Sir Loudrage Glorius Read
Hatoum, Mona (Kunstmuseum
St. Gallen)
Eric Hattan Works. Werke Œuvres 1979–2015
Hattan, Eric: Niemand ist mehr da
Herrera, Arturo: Boy and Dwarf
Hilliard, John: Accident and Design
Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations
Horn, Rebecca: 10 Werke / 20 Postkarten – 10 Works / 20 Postcards
Huang Rui: Actual Space, Virtual Space
Kowski, Uwe: Paintings and Watercolors
Mikhailov, Boris: Temptation of Life
Mosebach, Martin / Rebecca Horn: Das Lamm (The Lamb)
Neto, Ernesto: From Sebastian to Olivia
Oehlen, Albert: Mirror Paintings
Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990
Oehlen, Albert: unverständliche braune Bilder
Oehlen, Pendleton, Pope.L, Sillman
Oehlen, Albert | Schnabel, Julian
Phillips, Richard: Early Works on Paper
Riley, Bridget: Circles and Discs
Riley, Bridget: Paintings and Related Works 1983–2010
Riley, Bridget: The Stripe Paintings
Riley, Bridget: Paintings 1984–2020
Roth, Dieter & Iannone, Dorothy
True Stories: A Show Related to an Era – The Eighties
Wang, Jiajia: Elegant, Circular, Timeless
Wool, Christopher: Westtexaspsychosculpture
Zeng Fanzhi: Old and New. Paintings 1988–2023
Zhang Wei / Wang Luyan: A Conversation with Jia Wei
Sean Scully: Dark Yet Text Sean Rainbird English |
Since the early 1970s, Sean Scully has painted abstract pictures based in spirituality and metaphors on humanity and nature, rather than a straight minimalism. His compositions evoke landscape elements or architectural structures: horizon lines, rock formations, archaic buildings. This catalog offers an exhibition of recent paintings and graphic works from 2023/2024: the paintings—executed on aluminum, which gives them a shimmering depth—are developments on earlier series: Walls of Light from the 1990s, colored blocks vibrantly stacked on the picture plane, and Landlines from a decade later, forming horizontal strata of glorious but still earthy colors. A number of aquatints and drawings, based on a loose net-like pattern, offers more porous compositions, full of visual delicacy. A STATE OF BEING (excerpt from the essay by Sean Rainbird) This presentation of Sean Scully’s recent paintings, his first solo exhibition at Galerie Max Hetzler in Berlin, is an ideal way to explore the artist’s current preoccupations. The works shown here – on paper, on canvas, on copper and on aluminium – are a characteristic tour de force. Outwardly recognisable as abstract works, they all carry an emotional impact. In these late-career paintings, Scully’s fundamental vocabulary continues to consist of blocks and bars that are juxtaposed and set mainly at right angles to one another, filling the entire surface of the work. Smaller units are arranged into larger sections to form a coherent overall composition. Over four decades of refinement, Scully has explored certain compositional formats repeatedly. Earlier on, the edges between lines, stripes and blocks were more crisply defined and the layers of colours more evenly applied, one over the other. Latterly the artist has found a liberating energy in his works and now leaves more lively traces of his brushwork, sometimes only partially covering previous layers, sometimes mixing colours on the brush and sometimes creating uneven edges when painting at speed. His paintings have gained a new urgency and immediacy . . . Structurally, Scully’s new paintings conform to compositions he first developed from the 1980s onwards. Working with stripes, bars, blocks and slabs, mainly vertical and horizontal – though there were sometimes diagonal compositions too – Scully, like Piet Mondrian before him, continues to find infinite expression within the apparent limitations of self-imposed formal constraints. Perhaps the most absorbing aspect of these new works is the freedom that Scully conveys through their making. For many years he has developed long lines of continuity, such as the twin columns of regular oblongs in his Robe series and the disruptions and novel resolutions caused by inserting ‘insets’, like windows, into the middle of paintings. He made his first Wall of Light paintings over three decades ago, the first Landline works with horizontal bands a decade later. Some of his large Doric paintings have been conceived as a group that, through their titles and muted or brighter colour combinations, take us in sequence from day into night. Within the parameters he set himself, Scully has explored seemingly endless variations in shifting dimensions, different media, combinations of colours and changing moods. In short, the myriad responses of someone alive to the ceaseless rotation of everyday life in human relations and natural phenomena. The current exhibition exists within this ever-widening field of subject matter, as Scully finds almost limitless energy to place his art in our world, its history and our memories. Grasping hold of our attention with their vigorous brushwork and richly contrasting colours, the paintings and works on paper here radiate a powerful presence.
... In collaboration with Galerie Max Hetzler Berlin | Paris | London | Marfa
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