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Almond, Darren: Terminus

Almond, Darren / Blechen, Carl: Landschaften

Andreani, Giulia

Appel, Karel

Arnolds, Thomas

Brown, Glenn: And Thus We Existed

Butzer, André

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, Jeremy

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: Man ist nie Alone

Elmgreen and Dragset: After Dark

Elrod, Jeff

Fischer, Urs: Sirens

Förg, Günther

Förg, Günther: Forty Drawings 1993

Förg, Günther: Werke in der Sammlung Friedrichs

Galerie Max Hetzler: Remember Everything

Galerie Max Hetzler: 1994–2003

Gréaud, Loris: Ladi Rogeurs  Sir Loudrage  Glorius Read

Grosse, Katharina: Spectrum without Traces

Hains, Raymond

Hains, Raymond: Venice

Hatoum, Mona (Kunstmuseum
St. Gallen)

Eric Hattan Works. Werke Œuvres 1979–2015

Hattan, Eric: Niemand ist mehr da

Herrera, Arturo: Series

Herrera, Arturo: Boy and Dwarf

Hilliard, John: Accident and Design

Holyhead, Robert

Horn, Rebecca / Hayden Chisholm: Music for Rebecca Horn's installations

Huang Rui: Actual Space, Virtual Space

Josephsohn, Hans

Kahrs, Johannes: Down ’n out

Koons, Jeff

Kowski, Uwe: Gemälde und Aquarelle

La mia ceramica

Larner, Liz

Li Nu: Peace Piece

Mahn, Inge

Marepe

Mikhailov, Boris: Temptation of Life

Mosebach, Martin / Rebecca Horn: Das Lamm

Neto, Ernesto: From Sebastian to Olivia

Niemann, Christoph

Oehlen, Albert: Luckenwalde

Oehlen, Albert: Spiegelbilder

Oehlen, Albert: Spiegelbilder. Mirror Paintings 1982–1990

Oehlen, Albert: Interieurs

Oehlen, Albert: unverständliche braune Bilder

Oehlen, Pendleton, Pope.L, Sillman

Oehlen, Albert | Schnabel, Julian

Phillips, Richard: Early Works on Paper

Prince, Richard: Super Group

Raedecker, Michael

Riley, Bridget: Gemälde und andere Arbeiten 1983–2010

Riley, Bridget: Die Streifenbilder 1961–2012

Riley, Bridget: Paintings 1984–2020

Scully, Sean: Dark Yet

True Stories: A Show Related to an Era – The Eighties

Tunga: Laminated Souls

Tursic, Ida & Mille, Wilfried

de Waal, Edmund:Irrkunst

Wang, Jiajia: Elegant, Circular, Timeless

Warren, Rebecca

Wool, Christopher: Westtexaspsychosculpture

Wool, Christopher: Road

Wool, Christopher: Yard

Wool, Christopher: Swamp

Wool, Christopher: Bad Rabbit

Zeng Fanzhi: Old and New. Paintings 1988–2023

Zhang Wei (2017)

Zhang Wei (2019)

Zhang Wei / Wang Luyan: Ein Gespräch mit Jia Wei

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Sean Scully: Dark Yet
Text Sean Rainbird

Englisch
Softcover mit Schutzumschlag
24 x 30 cm
48 Seiten
31 Farb- und 1 Sw-Abbildungen
978-3-947127-49-8
35,00 Euro


 

Seit den frühen 1970er Jahren malt Sean Scully abstrakte Bilder, deren Minimalismus mit Spiritualität und einer Metaphorik von Mensch und Natur angereichert sind. Seine Kompositionen erinnern an Landschaftsformen oder architektonische Strukturen: Horizontlinien, Felsformationen, archaische Gebäude. Der Katalog dokumentiert eine Ausstellung aktueller Gemälde und Grafiken aus den Jahren 2023/2024: Die Gemälde – auf Aluminium ausgeführt, was ihnen eine schimmernde Tiefe verleiht – sind Weiterentwicklungen früherer Serien: die Walls of Light aus den 1990er Jahren, farbige Blöcke, dynamisch auf der Bildfläche gestapelt, und Landlines aus dem folgenden Jahrzehnt, mit horizontalen Schichten aus leuchtenden, dabei immer noch erdigen Farben. Dagegen bietet eine Reihe von Aquatintas und Zeichnungen, die auf einem losen netzartigen Muster basieren, durchlässige Kompositionen von visueller Zartheit.

 

A STATE OF BEING
(Auszug aus dem Essay von 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 colour 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.

 

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In Zusammenarbeit mit Galerie Max Hetzler Berlin | Paris | London | Marfa