Scully catalogue

SEAN night

SCULLY and day C H E I M & R E A D N EW YOR K 2013

J ohn Ya u “Painting is permanently primitive…” i 1.

This past summer I spent a week in the Dingle Peninsula, which forms the westernmost part of Ireland. The weather was volatile. Each day my family and I were greeted by torrents of rain followed by a bright yellow sun or by the reverse. One was never sure what would happen.

On one such morning, which started out as warm and sunny, but suddenly turned blustery and wet, we set out to see the Gallarus Oratory, which literally means "The Church of the Place of the Foreigners.” Made of stones, which have been cut on all sides and fitted tightly together without mortar, the remarkably intact Gallarus Oratory was built over a thousand years ago. One of its distinctive features is that the stones are piled at a slight angle; they are lower on the outside than the inside, causing the rainwater to run off.

I don’t know if Sean Scully, who was born in Dublin in 1945, and whose family sailed across the Irish Sea to England shortly after he was born, has ever spent any time in the Dingle Peninsula—with its constantly changing weather, stone walls and famine fields marking the green hills—but I cannot help but think that something of the Oratory lives on in his work. For all of the simple exactness of the church’s structure—it resembles the inverted hull of a ship—the irregularly s h a p e d s t o n e s h a d t o b e f i t t e d t o g e t h e r. I n a w a y t h a t i s b r e a t h t a k i n g a n d inspiring, the people who built the Gallarus Oratory made improvisation and n e c e s s i t y i n s e p a r a b l e . A s i m i l a r i n d i v i s i b i l i t y a n i m a t e s S c u l l y ’s w o r k .

Scully builds his compositions out of what he calls “bricks” of rich and often dusty color, but, like the anonymous stonemasons of the Oratory, is similarly committed to improvisation within the indispensable structures he discovers for

himself. Whatever the inspiration for a painting might be—and these have ranged from specific landscapes seen in a particular light to favorite novels and works of art—the tension between obligation and invention is central to Scully’s practice.

It seems to me that an analogy can be made between the dialogue of the Oratory’s strict form and the different stones used in its making, and the conundrum existing at the heart of Scully’s art. In order to stay true to its roots, Scully seems to believe that painting—at this late stage in history—might be compelled to acknowledge repetition even as it strives to break free of it. Instead of trying to ignore, cover over or bypass this paradox, he is intent on addressing this contradiction.

Hovering between strict order and complete disarray, with the latter seemingly about to gain the upper hand, Scully’s paintings, pastels and watercolors accept the inevitability of time’s dissembling power, even as they resist succumbing to chaos. Recognizing that he cannot step outside of time—that not even art can grant us this power—he uses his “bricks” to shape the passing of time, with the results often being plaintive visual hymns of somber color occasionally disrupted by flagrant instances of impulsive pleasure and ecstatic joy. In his work, he embraces emotion in all its complexity and contradiction, rather than banishes it. That he filters these emotions through structure, color and different states of materiality is one of the abiding strengths of his work.

2.

In his monumental, horizontal painting, Night and Day (2012), which was done in oil on eight, similarly sized, vertical aluminum panels, which were later attached t o g e t h e r, S c u l l y a b u t t e d e i g h t d i s t i n c t s t a c k s o f a l t e r n a t i n g b l a c k a n d g r a y horizontal bands. Night and Day is a combination of rhythm and dissonance, with the alternating dark and light bands introducing a rhythmic, percussive aspect into the viewer’s visual experience.

We d o n ’t s e e t h e p a i n t i n g s o m u c h a s c o n t i n u a l l y r e f o c u s o u r a t t e n t i o n a s w e sort through the myriad similarities and differences, which stir up a variety of associations. There are the near alignments between the bands in one stack a n d a n o t h e r, a s i n t h e t w o o n t h e p a i n t i n g ’s f a r r i g h t . A n d t h e r e a r e t h e s h a r p d i f f e r e n c e s , a s i n t h e t w o a d j a c e n t s t a c k s o n t h e p a i n t i n g ’s f a r l e f t .

B y i n v i t i n g u s t o r e c o n f i g u r e t h e o r d e r, a n d t o g a u g e t h e r i g h t n e s s o f i t s c o m p o s i t i o n , N i g h t a n d D a y r e c o g n i z e s i t s v u l n e r a b i l i t y. A t t h e s a m e t i m e , except for the second stack in from the left and right edge of the painting, the alternating pattern of the bands is unique to each vertical grouping. Although not immediately obvious, the two mirroring stacks prevent the painting from becoming a random collection. Musically speaking, they introduce a metrical pulse into the composition.

Even as I take note of the repetition, and recognize the changing parameters of the stacked, horizontal bands, I become increasingly sensitive to the shifts and modulations in tonality spanning Night and Day. The dusty, dirty, pale grays evoke certain streets in large cities, foggy mornings, wintry skies, and frozen lakes.

The darker gray bands—ranging from slate and to ash, interrupted by midnight black—conjure a changing nocturnal domain. Evocative of winter, especially in northern climates, where the sun appears briefly, if at all, Night and Day thrives in contradiction; it is chilly and soft, warm and aloof.

S c u l l y ’s j u x t a p o s i n g o f d a r k a n d l i g h t a l s o r e c a l l s É d o u a r d M a n e t ’s p a s s i o n a t e interest in the fluid brushwork and lush surfaces of Diego Velásquez’s paintings, a n d h i s s o - c a l l e d “ S p a n i s h p a l e t t e .” I n S c u l l y ’s w o r k , d i f f e r e n t a s s o c i a t i o n s f r o m d a i l y l i f e , f r o m m e m o r y, a n d f r o m a r t r i s e t o t h e s u r f a c e , i n f l e c t i n g o u r experience. The painting is pervaded by a sense of melancholia marked by a keen awareness of time passing. Midnight and morning keep returning, but they are never the same. It is a fantasy to believe that any sense of order is permanent.

3.

Inspired by a watercolor he made in Mexico in 1983, Scully titled a painting, Wall of Light, for the first time in 1998, marking the beginning of what the curator Michael Auping called a “new chapter." ii While the series has been subject of an exhibition—Sean Scully: Wall of Light, iii it is clear from the recent paintings in this series that he has not exhausted his subject. Since then, Scully has intermittently added new paintings to the “Wall of Light” series, which now numbers well over one hundred works. This is how Auping described the series:

The title Wall of Light, evocative in so many ways, is weighted with

contradiction. A wall has density; it separates and divides. It contains

spaces and closes off light. It radiates and fills space. These polarities are

an intrinsic part of the process and content of Scully’s recent paintings, in

which he uses these apparent contradictions to create emotional content. iv

Later on, in the essay, Auping writes:

His designation Wall of Light is often accompanied by a subtitle that refers

to a place, person or condition. These titles are seldom just a convenient

means of identifying a painting within a series. More often than not, the

subject inspires the making of the image, either from the outset or in the

middle of the process, a kind of recognition of what these colors and marks

might mean. Obviously, they are not specific landscapes or portraits but

effects that might suggest emotional conditions. v

I think it is important to underscore that Scully’s paintings are not anecdotal and do not result in an image. Instead of being able to trace the work back to an explicit source, we see that his paintings are constructed, brick by colored brick, with the spaces between them ranging from radiant and fulsome to tremulous and faint. The color of each brick—which is often made of layers of creamy paint—is discovered in the process of painting. This is what I think the artist was getting at when he declared that, “Painting is permanently primitive.”

The rhythmic brushstrokes—ranging from feathery to matter-of-fact—and the layers of paint (running from thin to pasty) are visceral, even as light seeps through the interstices or flares where the slabs of caressed color don’t touch.

The surface is neither uniform nor packed solid; it breathes. The bricks of color and the luminous spaces between them are equally important, with neither trumping the other.

There is always a tension between division and unity in the paintings in the “ Wa l l o f L i g h t ” s e r i e s . I t i s a t e n s i o n t h e v i e w e r s c a n n o t r e s o l v e . A t t e n t i o n is a constant process of refocusing. It is a kind of looking that goes back to Abstract Expressionism and the work of Jackson Pollock and Mark Rothko, a b o u t w h o m S c u l l y h a s w r i t t e n e l o q u e n t l y, r a t h e r t h a n t h e M i n i m a l i s m o f F r a n k S t e l l a w h o f a m o u s l y s a i d : “ W h a t y o u s e e i s w h a t y o u s e e .” S c u l l y n e v e r sought that state of emptiness.

In the square painting, Wall of Light Arles (2012), Scully stacks his different-sized, colored bricks vertically and horizontally—something he has done since he began the series. The misalignments function, as a kind of visual irritation, reminders that things do not necessarily fit together, that life does not simply add up. Each brick consists of layers of color brushed loosely and intuitively over another. The final colors elude naming.

A nearly square, pale, buttery rectangle sits in the center of the composition. It was brushed over blue, which peeks out along the bottom edge, directly above a dark blue square, and in the top left and right corners. In addition, there are two other dark blue bricks, two yellow ones, two brownish-red ones, two pink ones and a light blue vertical rectangle. Compositionally, the light blue vertical rectangle is nestled in the right hand corner and abuts the painting’s right hand edge, a sentinel, intruder and detached observer. The central square is both hemmed in and held in place by the rest of the vertical and horizontal rectangles aligned around it. The painting is simultaneously visual and visceral, glowing and fleshy.

As we know, Vincent Van Gogh went to Arles, in the south of France, in February 1888. In an earlier letter to his sister, he talked of going to the south because there was more sun and even more colors there. vi In a number of the paintings he did in June 1888, during the height of the summer harvest, Van Gogh depicted a brilliant yellow field of grain in the center of the composition, echoing the swaying stalks with his undulating brushstrokes.

Beginning with the arrival of Paul Gauguin in Arles at the end of October 1 8 8 8 , e v e r y t h i n g w o u l d s o o n s t a r t c o m i n g a p a r t f o r Va n G o g h . H i s d e s i r e f o r a c o m m u n i t y o f a r t i s t s l i v i n g i n t h e Ye l l o w H o u s e o n P l a c e L a m a r t i n e w o u l d d i s s o l v e i n d i s a s t e r. I n t h e s p r i n g o f 1 8 8 9 , a f t e r h i s t r o u b l e d f r i e n d s h i p w i t h G a u g u i n h a d e n d e d , Va n G o g h l e f t A r l e s t o s e e k t r e a t m e n t a t t h e a s y l u m o f S a i n t - P a u l - d e - M a u s o l e i n S a i n t - R é m y.

In Wall of Light Arles, I sense that Scully is paying homage, that he is calling out to Van Gogh across time, and that he is doing so without resorting to mimicking Van Gogh’s expressive brushwork or quoting one of his paintings. At first, the centrally located, pale yellow rectangle evoked, for me, a wintry sun—the cold.

At the same time, the painting—its wall of intense colors evoking Van Gogh’s paintings as well as the heat and blinding light of Arles—never becomes narrative, never slips into irony, never becomes melodramatic or maudlin. Instead, it celebrates the sensual world of color and light, even as it recognizes temporality by fixing it in paint.

While this feeling of celebration, tempered by a sense of life’s briefness, suffuses through Wall of Light Heat (2013), the blacks, pinkish-grays, grays and wine red palette of Wall of Light Infanta (2012) conveys a darker mood.

More than anything else, I am struck by the directness that Scully is able to get into Wall of Light Arles. In an age where we have been taught to be circumspect about our feelings, Scully lays his bare, and his love for another painter shines through.

4.

I n 2 0 1 3 , S c u l l y s t a r t e d a n e w s e r i e s , L a n d l i n e . C o m p o s i t i o n a l l y, t h e p a i n t i n g s generally consist of six or seven wide horizontal bands—each a different color— stacked on top of each other, like boards. Scully’s process entails finding a satisfactory color, often by painting wet into wet, by layering and mixing as he goes along. Most of the boards bump up against the adjacent ones, with only a n o c c a s i o n a l s l i v e r o f u n d e r p a i n t i n g v i s i b l e n e a r t h e e d g e s . Wo r k i n g i n s u c h a straightforward manner, structure and improvisation, as well as rhythm and dissonance, overlap until they become indistinguishable.

While the accepted definition of “landline” is a line of communication, such as a telephone cable, set on land, I think that Scully is after something else. I am reminded again of my time on the Dingle Peninsula, and of learning about the scars the Great Potato Famine left in the landscape. Between 1845 and 1950, more than a million people died. Another million emigrated, many of them to America.

The Irish believed—wrongly, as we now know—that if they planted higher on the hill, the crops would survive. The dark lines along the tops of the hills are the furrows where the potatoes rotted. Today, the population of Ireland is slightly more than half of what it was at the beginning of the Famine so that one could say that the country has never recovered. Certainly, the scars are literally still visible on the hills, as was pointed out to me on more than one occasion.

I think this tragic understanding of the landscape—one that can be so incredibly verdant—runs contrary to the commonplace view of the luxuriant countryside as the site of replenishment. During the Famine, Ireland was still green, abundantly so, but people starved and died. This contradiction runs deep in the being of everyone who is Irish, how can it not? The point is neither to exploit nor sentimentalize this history, and become a parody of what it means to be Irish, as so many have. Scully is an artist who has neither forgotten where he came from nor sensationalized it. And here it might be useful to remember that Ireland does not have a long, rich history of modern art. He is, in that regard, very much a groundbreaker.

In his Landline series, it seems to me that Scully wants to bring together the desolate and the sensual, the mournful and the lyrical, materiality and light.

Three black bands severely punctuate Landline Yellow (2013), which consists of six bands. While both the top and bottom bands are black, squeezing the other bands together, the order of the three non-black bands, which, starting at the bottom, go from gray to brown to pumpkin-orange, conveys ascension into autumnal light. This feeling of ascension is enhanced by the slivers of pale blue along the bottom left and right edge of the orange band, lifting it against the topmost black band, and holding it there despite the downward pressure from above. And yet these slivers seem more like the residue of a process rather than the result of an expressive gesture; they were found rather than made.

Scully’s bricks and boards of color are not just paint; they are unnamable things, actors in an epic drama. Using a highly limited, rather simple vocabulary in Landline Yellow, Scully integrates, as well as sets, two different rhythms against each, the percussive beat of the black bands and the ascending order of the gray, brown and pumpkin-orange bands. One is apt to feel that the painting is simultaneously complete and a peek at something larger and unknowable.

In Landline Blue (2013), Scully stacked six horizontal ba nds on top of the other, with the black bands placed one in from the top and bottom edge, forming the second and fifth band. Between them, Scully has stacked a smoky red band above a dusty blue band, smoldering heat and mineral-like coolness. The top and bottom bands are different tonalities of gray, with the upper one containing red, and the bottom brushed over blue, so that you sense its presence in the depths.

Landline Blue can be divided into upper and lower realms, each consisting of three bands. Meanwhile the black bands sandwich the red and blue bands, holding them tightly together. Depending on our focus, we can see the painting as unified or divided, singular or plural.

In his work, Scully defines looking as a process of assembling and dissembling, of focusing and refocusing. Reality demands attention, and being responsible to its constantly changing state. Both life and art ask the individual to be alert to change and nuance, to recognize large shifts and be sensitive to subtle modulations.

Scully’s work is animated by his attentiveness to the ordinary and everyday—to what is underfoot. Tragedy and solitude might not dominate, as they did in his earlier work, but for this artist they are never very far, either.

i

Sean Scully, lecture, August 10, 1992, Harvard University. Cited by Armin Zweite, “Abstraction and

Authentic Experiences in the Oeuvre of Sean Scully” in Sean Scully: Paintings, Pastels, Watercolors, Photographs 1990 – 2000 (Dusseldorf: Richter Verlag, 2001), page 14. ii

Michael Auping, “No Longer a Wall” in Sean Scully: Wall of Light, ed. Stephen Bennett Phillips (New York:

Rizzoli International, 2005), page 25. iii

Stephen Bennett Phillips, Michael Auping and Anne L. Strauss, Sean Scully: Wall of Light, ed. Stephen

Bennett Phillips (New York: Rizzoli International, 2005). iv v

Michael Auping, Sean Scully: Wall of Light, page 25.

Ibid, page 28.

vi

Vincent van Gogh, The Complete Letters of Vincent van Gogh, 3rd ed., vol. 3 (New York, Bulfinch Press Book,

Little Brown and Company, 2009), page 427.

Wall of Light Infanta 2012 oil on linen 85 x 75 in 215.9 x 190.5 cm

Wall of Light Pink Orange 2012 oil on aluminum 85 x 75 in 215.9 x 190.5 cm

Wall of Light Arles 2012 oil on linen 63 x 63 in 160 x 160 cm

Wall of Light Yellow Yellow 2012 oil on linen 85 x 75 in 215.9 x 190.5 cm

Wall of Light Yellow Blue 2012 oil on linen 63 x 63 in 160 x 160 cm

Wall of Light Green 2013 oil on linen 59 x 55 in 149.9 x 139.7 cm

Wall of Light Heat 2013 oil on linen 85 x 75 in 215.9 x 190.5 cm

Landline Green 2013 oil on linen 47 x 42 in 119.4 x 106.7 cm

Landline Blue 2013 oil on linen 85 x 75 in 215.9 x 190.5 cm

Landline Yellow 2013 oil on linen 32 x 28 in 81.3 x 71.1 cm

Landline Pink 2012 oil on aluminum 85 x 75 in 215.9 x 190.5 cm

Doric 15.3.13 2013 pastel on paper over alu-dibond panel 60 x 80 1/2 in 152.4 x 204.5 cm

Night and Day 2012 oil on aluminum 110 x 320 in 279.4 x 812.8 cm

ON MORANDI Unpublished notes on Morandi, an addendum to the text, "Giorgio Morandi: Resistance and Persistence," Sean Scully: Resistance and Persistence Selected Writings, 2006 As a counter-weight to the dominance of American painting of the fifties, Morandi holds a position that cannot be challenged, and today seems to yield an array of possible influences and examples for young painters. Morandi’s work doesn’t negotiate with Abstract Expressionism, as is the case with the important French artist Yves Klein who competes with America for scale and conceptual directness. Or like other European artists who worked on large-scale paintings, such as Soulages, Schumacher and Tàpies. Morandi’s extreme originality is achieved as a counter-point to all this. He is the authentic opposite. He doesn't attempt to compete with American Art: he does the contrary, which is what American Art cannot do. Since no culture can effectively represent the opposite of itself.

I was talking to a friend once on the phone, about a painting I had just finished. The painting is called Wall of Light Sky. She was asking me to describe it. After a few minutes I said, ‘look, I can describe it to you by describing something that can’t really exist.’ I told her, since it was made of many greys that were mixed in with pink and red and blue, that it was maybe like a Morandi on a giant scale, that was drawn on a broken grid. So I was talking of the way a simple subject could be given a compressed complex history by being overpainted in uncertain colors. This made everything clear to her even though I had described the impossible; since a giant Morandi is the opposite of what a Morandi is. What its sense of being is, and what it registers itself as in the world of Art. I also talked about the way my painting was painted: how the paint was laid down in a way that allowed it to breathe; yet it had a ‘sculptural’ reality, since the paint could be seen as weighted material.

His brushstroke is in complete philosophical agreement with the subject, the scale and the color of his paintings. It is expressive, though it is modest, and not so expressionistic as to disturb the sense of meditative silence that inhabits all his paintings.

Sean Scully May 31, 2005

BIOGRAPHY Born 1945 Dublin, Ireland 1962–1965 The Central School of Art, London 1965–1968 Croydon College of Art, London 1968–1972 Bachelor of Arts, Newcastle University, England Lives and works in New York, Barcelona, and Munich

SOLO EXHIBITIONS 2014

Figure Abstract, Ludwig Museum, Koblenz, Germany

2013

2012

Sean Scully: Night and Day, Cheim & Read, New York Sean Scully: Doric, the Hugh Lane Gallery, Dublin, Ireland; traveled to Musée d’Art Classique de Mougins, Mougins, France Sean Scully: Triptychs, Pallant House Gallery, Chichester, West Sussex, England Sean Scully: Works on Paper / Wall of Light Red Shade, Van Every / Smith Galleries, Davidson College, Davidson, North Carolina Sean Scully: Change and Horizontals, curated by Brett Littman and Joanna Kleinberg, Timothy Taylor Gallery, London, England; traveled to Middlesbrough Institute of Modern Art, Middlesbrough, England; Walter Storms Galerie, Munich, Germany; Galleria nazional d’arte moderna e contemporanea, Rome, Italy; the Drawing Center, New York Sean Scully: Grey Wolf – A Retrospective, curated by Annick Haldemann (Bern) and Brigitte Reutner (Linz), Kunstmuseum Bern, Bern, Switzerland; traveled to Lentos Kunstmuseum, Linz, Austria Sean Scully: Luz del Sur, Alhambra, Palacio Carlos V, Granada, Spain Sean Scully: Doric Order, Benaki Museum of Art, Athens, Greece; traveled to Instituto Valenciano de Arte Moderno, Valencia, Spain Sean Scully: Iona & Related Paintings, Alter Gallery, Philadelphia Museum of Art, Philadelphia, Pennsylvania Sean Scully: The Evocative Capacity of Painting, Wooson Gallery, Daegu, South Korea The Verey Gallery, Eton College, Windsor, England

2011 Sean Scully: Works from the 1980s, Wilhelm-Hack Museum, Ludwigshafen, Germany

Sean Scully: Works on Paper, Luther W. Brady Art Gallery, the George Washington University, Washington, DC

Sean Scully: Cut Ground, Kerlin Gallery, Dublin, Ireland

Sean Scully Paintings and Watercolors, Chazen Museum of Art, University of Wisconsin Madison, Madison, Wisconsin 2010 Sean Scully: Iona, Ingleby Gallery, Edinburgh, Scotland

Sean Scully: Works from the 1980s, curated by Tanja Pirsig Marshall, VISUAL—Centre for Contemporary Art, Carlow,

Ireland; traveled to Leeds Art Gallery, Leeds, England

Sean Scully: Works from the Modern Art Museum of Fort Worth, the Old Jail Art Center, Albany, Texas

Timothy Taylor Gallery, London, England

Die Bilderwelt von Sean Scully, Kunstsammlungen Chemnitz, Chemnitz, Germany

Sean Scully: Liliane, Alexander and Bonin, New York 2009

Sean Scully: Paintings from the 80s, Timothy Taylor Gallery, London, England Constantinople or the Sensual Concealed. The Imagery of Sean Scully, curated by Susanne Kleine, Museum Küppersmühle für Moderne Kunst, Duisburg, Germany; traveled to Ulster Museum, Belfast, Northern Ireland Sean Scully: Recent Works, Walter Storms Galerie, Munich, Germany Sean Scully: Emotion and Structure, House of Fine Arts / Modern Gallery—László Vass Collection, Veszprém, Hungary Sean Scully: Recent Paintings, Galerie Lelong, New York

2008

Sean Scully: The Art of the Stripe, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire Sean Scully: la Surface Peinte, Galerie Lelong, Paris, France Galeria Carles Taché, Barcelona, Spain

2007

Sean Scully: Dedicate a García Lorca, Instituto Cervantes Dublin, Dublin, Ireland Sean Scully: A Retrospective, curated by Danilo Eccher, Fundació Joan Miró, Barcelona, Spain; traveled to Musée d’Arte Moderne, St. Etienne, France; Museo d’Arte Contemporanea di Roma al Mattatoio, Rome, Italy Sean Scully: Walls of Aran, Kerlin Gallery, Dublin, Ireland Sean Scully: Aran Islands: A Portfolio of Photographs, Galerie Lelong, New York Sean Scully: Walls of Aran, Ingleby Gallery, Edinburgh, Scotland The Prints of Sean Scully, curated by Joann Moser, Smithsonian American Art Museum, Washington, DC; traveled to Naples Museum of Art, Naples, Florida; Minneapolis Institute of Arts, Minneapolis, Minnesota; Hyde Collection, Glen Falls, New York Sean Scully: New Painting, Galerie Jamileh Weber, Zürich, Switzerland

2006

Sean Scully: Die Architektur der Farbe / The Architecture of Color, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein Bibliothèque Nationale de France, Paris, France Sean Scully: Recent Paintings, L.A. Louver Gallery, Venice, California Timothy Taylor Gallery, London, England Scottish National Gallery of Modern Art, Edinburgh, Scotland

2005

Sean Scully: Faith—Hope—Love, Augustinerkloster, Erfurt, Germany Sean Scully: Graphic Works, Fenton Gallery, Cork, Ireland Sean Scully: Paintings and Works on Paper, Abbott Hall Art Gallery at Lakeland Artists Trust, Kendal, England Sean Scully: Malerie: kleine Formate, Staatliche Museen Kassel, Neue Galerie, Kassel, Germany Sean Scully: New Work, Galerie Lelong, New York Ingleby Gallery, Edinburgh, Scotland Mirrors 1982–2004 Prints, Editions & Photographs, La Louviere Museum, La Louviere, Belgium Sean Scully: Photographs, Galeria Carles Tache, Barcelona, Spain Sean Scully: para García Lorca, Sala de Exposiciones Acala 31, Madrid, Spain Sean Scully: Wall of Light, curated by Stephen Phillips, The Phillips Collection, Washington DC; traveled to the Modern Art Museum of Fort Worth, Fort Worth, Texas, Cincinnati Art Museum, Cincinnati, Ohio; the Metropolitan Museum of Art, New York

2004

Sean Scully: Photographs, Galerie Bernd Klüser, Munich, Germany Kerlin Gallery, Dublin, Ireland Sean Scully: España-Spain-Spanien, Kunsthalle Weimar, Harry Graf Kessler, Weimar, Germany Sean Scully: Fotografias, Galeria Estiarte, Madrid, Spain Sean Scully: Winter Robe, Galerie Lelong, Paris, France Sean Scully: Estampes 1983–2003, Centre Culturel Irlandais, Paris, France Sean Scully: Paintings from the 70s, Timothy Taylor Gallery, London, England tigres en el jardin: José Guerrero & Sean Scully, Centro José Guerrero, Granada, Spain Sean Scully: Etchings for Federica García Lorca, Huerta de San Vicente, Casa-Museo Federico García Lorca Foundation, Granada, Spain Holly Series, Kunstverein, Aichach, Aichach, Germany Sean Scully: Body of Light, National Gallery of Australia, Canberra, Australia Sean Scully: Photographs, Anne Reed Gallery, Ketchum, Idaho

2003

Hôtel des Arts, Toulon, France Galeria Carles Taché, Barcelona, Spain Sean Scully: Photographs, Galerie Jamileh Weber, Zürich, Switzerland Sean Scully: Works 1990–2003, Sara Hilden Art Museum, Tampere, Finland; traveled to Neues Museum Weimar, Weimar, Germany Sean Scully: Photographs, L.A. Louver Gallery, Venice, California Sean Scully: Prints and Photographs, Alexander and Bonin Gallery, New York

2002

Cámara de Comercio, Industria y Navegación de Cantabria, Santander, Spain; traveled to Ayuntamiento de Pamplona, Polvorin de la Cindadela, Spain Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Dresden, Germany Sean Scully: Wall of Light, Figures, Timothy Taylor Gallery, London, England L.A. Louver Gallery, Venice, California Sean Scully: Wall of Light, Centro de Arte Helio Oiticica, Rio de Janeiro, Brazil

2001

Barcelona Etchings for Frederico García Lorca, Instituto Cervantes, London, England Sean Scully: Light + Gravity: Recent Wall of Light Paintings, Knoedler & Company, New York Sean Scully: New Works on Paper, Galerie Lelong, New York Sean Scully: The 90s—Paintings, Pastels, Watercolors, Photographs, Kunstsammlung Nordrhein—Westfalen, Düsseldorf, Germany; traveled to Haus der Kunst, Munich, Germany; Instituto Valencia d’Arte Modern, Valencia, Spain Sean Scully: Works on Paper, Rex Irwin Gallery, Woollahra, Australia; traveled to Dickerson Gallery, Melbourne, Australia Ingleby Gallery, Edinburgh, Scotland Sean Scully: Light to Dark, Galerie Lelong, Paris, France Sean Scully: Walls, Windows, Horizons, David Winton Bell Gallery, List Art Center, Brown University, Providence, Rhode Island Musée Jenisch, Vevey, Switzerland Sean Scully: Wall of Light, curated by Michael Auping, Museo De Arte Contemporaneo De Monterrey, Monterrey, Mexico; traveled to Museo de Arte Moderno, Mexico City, Mexico

2000

Sean Scully on Paper, the Metropolitan Museum of Art, New York Sean Scully: Prints 1994–1998, Alan Cristea Gallery, London, England Galeria Carles Taché, Barcelona, Spain Sean Scully: Estampes 1983–1999, Musée des Beaux-Arts de Caen, Caen, France Sean Scully: Photographies, Galerie de l'Ancien Collège, Ecole Municipale d’Arts Plastiques, Châtellerault, France Sean Scully: Graphics, A+A Galleria D’Arte, Venice, Italy

1999

Galerie Lelong, Paris, France Sean Scully: Prints 1968–1999, Graphische Sammlung Albertina, Vienna, Austria; traveled to Musée du Dessin et de l’Estampe Originale, Gravelines, France Sean Scully: New Paintings and Works on Paper, Danese Gallery and Galerie Lelong, New York Sean Scully: New Paintings, South London Gallery, London, England Sean Scully: Monotypes and Color Woodcuts 1987–1993 from the Garner Tullis Workshop, Galerie Kornfeld, Zürich, Switzerland Kerlin Gallery, Dublin, Ireland Sean Scully: Ten Barcelona Paintings, Galerie Bernd Klüser, Munich, Germany

1998

Sean Scully: Paintings and Works on Paper, Galerie Bernd Klüser, Munich, Germany Sean Scully: Mirror Images: Paintings & Works on Paper, Timothy Taylor Gallery, London, England Bawag Foundation, Vienna, Austria Galerie Haas & Fuchs, Berlin, Germany Sean Scully: Seven Mirrors, Harris and Lewis Stacks, Mira Godard Gallery, Toronto, Canada Sean Scully: New Paintings and Works on Paper, Galleri Weinberger, Copenhagen, Denmark Galeria Antonia Puyo, Zaragoza, Spain Sean Scully: Pastels, Watercolors, Prints and Photos, Galerie Le Triangle Blue Art Contemporain, Stavelot, Belgium

1997

Sean Scully: Seven Unions, Timothy Taylor Gallery, London, England Sean Scully 1989–1997, La Sala de Exposiciones REKALDE, Bilbao, Spain; traveled to Salas del Palacio Episcopal, Plaza del Obispo, Málaga, Spain; Fundacio “la Caixa,” Palma de Mallorca, Spain Sean Scully 1982–1996, Manchester City Art Galleries & the Whitworth Art Gallery, Manchester, England Sean Scully: Recent Paintings, Galerie Lelong, Paris, France

Kerlin Gallery, Dublin, Ireland Sean Scully: Floating Paintings and Photographs, Galerie Lelong, New York Sean Scully: Obra Reciente: Pinturas, Acuarelas, Pasteles y Obra Grafica, Galeria DV, San Sebastian, Spain Mary Boone Gallery, New York Sean Scully: Paintings & Works on Paper, Galerie Jamileh Weber, Zürich, Switzerland Sean Scully: Prints and Watercolors, John Berggruen Gallery, San Francisco, California

1996

1995

Sean Scully: The Catherine Paintings (1979–1995) & Watercolours, Casino Luxembourg, Forum d’art contemporain, Luxembourg Sean Scully: Obra grafica reciente, Edicions T Galeria D’Art, Barcelona, Spain Sean Scully: Paintings and Works on Paper, Galerie nationale du Jeu de Paume, Paris; traveled to Neue Galerie der Stadt Linz, Linz, Austria; Culturgest, Lisbon, Portugal Sean Scully, curated by Danilo Eccher, Galleria d’Arte Moderna—Villa Delle Rose, Bologna, Italy Galeria Carles Taché, Barcelona, Spain Sean Scully: New Pastels, Galerie Lelong, New York Sean Scully: Graphische Arbeiten, Galerie Angelika Harthan, Stuttgart, Germany Sean Scully: Works on Paper 1975–1996, Staatliche Graphische Sammlung, Neue Pinakothek, Munich, Germany; traveled to Museum Folkwang Essen, Essen, Germany; Henie-Onstad Kunstsenter, Hovikodden, Norway; Whitworth Art Gallery, Manchester, UK; Hugh Lane Municipal Gallery of Art, Dublin, Ireland; as Sean Scully: Works on Paper 1984–1996, Herning Kunstmuseum, Herning, Denmark; Milwaukee Art Museum, Milwaukee, Wisconsin; Denver Art Museum, Denver, Colorado; Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts; Albright-Knox Art Gallery, Buffalo, New York Galeria De L’Ancien College, Châtellerault, France Waddington Galleries, London, England Sean Scully: The Beauty of the Real, Galerie Bernd Klüser, Munich, Germany Sean Scully: Twenty Years 1976–1995, Hirschhorn Museum and Sculpture Garden, Smithsonian Institution, Washington DC; traveled to the High Museum of Art, Atlanta, Georgia; Fundacio “la Caixa” Centre Cultural, Barcelona, Spain; Irish Museum of Modern Art, Dublin, Ireland; Schirn Kunsthalle Frankfurt, Frankfurt am Main, Germany Sean Scully: The Catherine Paintings, Kunsthalle Bielefeld, Bielefeld, Germany; traveled to Palais des Beaux-Arts, Charleroi, Belgium Mary Boone Gallery, New York

1994

Sean Scully: The Light in the Darkness, Fuji Television Gallery, Tokyo, Japan Sean Scully: Works on Paper, Knoedler & Co., New York Sean Scully: Paintings, Butler Gallery, Kilkenny Castle, Kilkenny, Ireland Kerlin Gallery, Dublin, Ireland Sean Scully: Obra graphica 1991–1994, Galeria DV, San Sebastian, Spain Sean Scully: La Forma e lo Spirito / Sean Scully: The Form and the Spirit, Galleria Gian Ferrari Arte Contemporanea, Milano, Italy

1993

Mary Boone Gallery, New York Sean Scully: The Catherine Paintings, Modern Art Museum of Fort Worth, Fort Worth, Texas Sean Scully: Heart of Darkness, Waddington Galleries, London, England Sean Scully: Paintings and Works on Paper, Galerie Bernd Klüser, Munich, Germany

1992

Sean Scully: New Graphic Works, Galleri Weinberger, Copenhagen, Denmark Sean Scully: Woodcuts, Pamela Auchincloss Gallery, New York Sean Scully: Prints and Related Works, Brooke Alexander Editions, New York Sean Scully: New Prints, Bobbie Greenfield Fine Art, Inc., Venice, California Sean Scully: Woodcuts, Stephen Solovy Fine Art, Chicago, Illinois Daniel Weinberg Gallery, Santa Monica, California Sean Scully: Paintings 1973–1992, Sert Gallery, Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts Waddington Galleries, London, England

1991

Sean Scully: Paintings and Works on Paper, Galerie Jamileh Weber, Zürich, Switzerland

1990

Sean Scully: Prints, M. Art, Tokyo, Japan Galerie de France, Paris, France Sean Scully: Monotypes from the Garner Tullis Workshop, Pamela Auchincloss Gallery, New York Sean Scully: New Paintings, McKee Gallery, New York

1989

Sean Scully: New Paintings, David McKee Gallery, New York Sean Scully: Paintings and Works on Paper 1982–1988, Whitechapel Art Gallery, London, England; traveled to Centro deArte Reina Sofia—Palacio de Velazquez, Parque del Retiro, Madrid, Spain; and Städtische Galerie im Lenbachhaus, Munich, Germany Sean Scully: Pastel Drawings, Grob Gallery, London, England Sean Scully: Bilder und Zeichnungen, Galerie Karsten Greve, Cologne, Germany

1988

Fuji Television Gallery, Tokyo, Japan

1987

Sean Scully: Monotypes from the Garner Tullis Workshop, Pamela Auchincloss Gallery, Santa Barbara, California Sean Scully: Monotypes, David McKee Gallery, New York Sean Scully: Recent Monotypes and Drawings, Flanders Contemporary Art, Minneapolis, Minnesota Mayor Rowan Gallery, London, England Galerie Schmela, Düsseldorf, Germany Sean Scully: Matrix / Berkeley 112, University Art Museum, University of California at Berkeley, Berkeley, California Sean Scully, curated by Neal Benezra, the Art Institute of Chicago, Chicago, Illinois

1986

Sean Scully: Paintings 1985–1986, David McKee Gallery, New York

1985

Sean Scully, Museum of Art, Carnegie Institute, Pittsburg, PA; traveled to the Museum of Fine Arts, Boston, Massachusetts Sean Scully: New Paintings, David McKee Gallery, New York Sean Scully: Neue Arbeiten, Galerie Schmela, Düsseldorf, Germany Sean Scully, Susan Caldwell Inc., New York

1984

Sean Scully: Recent Paintings and Drawings, Juda Rowan Gallery, London, England Sean Scully: Schilderijen—Tekeningen, Galerij S65, Aalst, Belgium

1983

David McKee Gallery, New York

1982

Sean Scully: Recent Paintings, William Beadleston Inc., New York

1981

Sean Scully: Paintings 1971–1981, Ikon Gallery, Birmingham, UK; traveled under the auspices of the Arts Council of Great Britain to Ceolfrith Gallery, Sunderland Arts Centre, Sunderland, England; Douglas Hyde Gallery, Dublin, Ireland; Warwick Arts Trust, London, England Sean Scully: Recent Paintings, Rowan Gallery, London, England Susan Caldwell Inc., New York Sean Scully: Seven Drawings, a Wall Painting: Spider, to the people of Berlin, dedicated to Blinky Palermo, Museum für (Sub-) Kultur, Berlin, Germany

1980

Susan Caldwell Inc., New York

1979

Sean Scully: Recent Paintings, Rowan Gallery, London, England Painting for One Place, Peter Nadin’s Space, New York Sean Scully: Paintings 1975–1979, the Clocktower, New York

1977

Sean Scully: Paintings & Drawings, Rowan Gallery, London, England Duffy / Gibbs Gallery, New York

1976

Sean Scully: Works on Paper, Tortue Gallery, Santa Monica, California

1975

Sean Scully: Recent Paintings, Rowan Gallery, London, England Sean Scully: Paintings 1974, Tortue Gallery, Santa Monica, California

1973

Sean Scully: Recent Paintings, Rowan Gallery, London, England

1972

Bookshop Gallery, Ceolfrith Art Centre, Sunderland, England

GROUP EXHIBITIONS 2013

Farbiges Grau, Mies van der Rohe Haus, Berlin, Germany Edge, Order, Rupture, Galerie Lelong, New York

2012

Window to the World: From Dürer to Mondrian and Beyond, Museo Cantonale d’Arte and Museo d’Arte, Lugano, Switzerland; traveled to Fondation de l’Hermitage, Lausanne, Switzerland Abstract Drawings, Smithsonian American Art Museum, Washington DC Stimuli: Prints and Multiples, Alexander and Bonin, New York Bremerhaven-Berlin-Aichach: 35 artworks from 3 places and 37 years, Zweigstelle Berlin, Berlin, Germany “Chemin faisant. . .”, Musee jurassien des Arts, Moutier, Switzerland Summer Exhibition, Royal Academy of Arts, London, England

2011

Selected Prints, Galerie Klüser, Munich, Germany Photography: Richard Deacon, Frederick Hammersley, Sean Scully, Juan Uslé, L.A. Louver, Venice, California Group Exhibition, Firestone Library, Rare Books & Special Collections, Princeton University, Princeton, New Jersey The Shadow of the Corner of the Wall. Liliane Tomasko and Sean Scully, Das Haus am Lützowplatz, Berlin, Germany Zettels Traum: Die Zeichnungssammlung Bern und Verena Klüser, Von Der Heydt—Museum, Wuppertal, Germany The Cincinnati Art Award: Gifts and Warhol Portraits of Doug Cramer, Cincinnati Art Museum, Cincinnati, Ohio Eroi / Heroes, Galleria Civica D’Arte Moderna e Contemporanea, Torino, Italy The Minimal Gesture, Timothy Taylor Gallery, London, England Gravity, Crawford Art Gallery, Cork, Ireland Planos Sensibles, Museo de Arte Contemporáneo, Alicante, Spain Body and Soul: Lawrence Carroll, Gotthard Graubner, Sean Scully, Hôtel des Arts, Toulon, France The Indiscipline of Painting: International abstraction from the 1960s to now, Tate St. Ives, St. Ives, Cornwall, England; traveled to Mead Gallery, Warwick Arts Centre, Coventry, England Multiplicity, Smithsonian American Art Museum, Washington DC

2010

Kunstwerke aus der UBS Art Collection im Opern Turm Frankfurt, Der Opern Turm, Frankfurt, Germany From Homer to Hopper: American Watercolor Masterworks from the Currier Museum of Art, Currier Museum of Art, Manchester, New Hampshire More Photographs Than Bricks, Luther W. Brady Art Gallery / George Washington University Living With Art: Collecting Contemporary in Metro New York, Neuberger Museum of Art, Purchase, New York Summer Exhibition 2010, Royal Academy of Arts, London, England Calder to Warhol: Introducing the Fisher Collection, San Francisco Museum of Modern Art, San Francisco, California The Hugh Lane Centenary Print Collection, Linehall Arts Centre, Castlebar, Ireland Decameron, curated by David Cohen, New York Studio School, New York The Moderns: The Arts in Ireland from the 1900s to the 1970s, Irish Museum of Modern Art, Dublin, Ireland 17 Malern, Bayerische Akademie der Schönon Künste, Munich, Germany

2009

Building with Colour, curated by Helen Baker, Gallery North, Northumbria University, Newcastle upon Tyne, England Drei. Das Triptychon in der Moderne, Kunstmuseum Stuttgart, Stuttgart, Germany Regards Croises: Les oeuvres de la BEI à la BCEE, Galerie d’art contemporain Am Tunnel & Espace Edward Steichen, Luxembourg Second Biennial of the Canary Islands, CAAM—Los Balcones 11 y 13, Las Palmas De Gran Canaria, Spain Pop to Present, Pigott Family Gallery, Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, California Shaping Reality: Geometric Abstraction after 1960, Minneapolis Institute of Arts, Minneapolis, Minnesota Passports, curated by Michael Craig-Martin and Andrea Rose, Whitechapel Gallery, London; and Padiglione d’Arte Contemporanea, Milan, Italy 1999 / 2009, Regard Sur La Collection Du Conseil Général Du Var, Hôtel des Arts, Toulon, France Markierungen, Sean Scully & Jannis Kounellis, 401 Contemporary, Berlin, Germany Historias del Confin, Instituto Valenciano de Arte Moderno, Valencia, Spain IN-FINITUM, 53rd Venice Biennale, Palazzo Fortuny, Venice, Italy The Weight of Light, curated by Carissa Farrell, VISUAL Centre for Contemporary Art, Carlow, Ireland

2008 Masterpieces of Modern British Art: Selected works from the Derek Williams Trust and Amgueddfa Cymru National Museum Wales, Osborne Samuel Gallery, London

Art is for the Spirit: Works from The UBS Art Collection, Mori Art Museum, Tokyo, Japan

MAXImin, Maximum Minimization in Contemporary Art, Fundacion Juan March, Madrid, Spain

Degas to Diebenkorn: the Phillips Collects, the Phillips Collection, Washington DC

Monet-Kandinsky-Rothko und die folgen Wege der abstrakten Malerei, BA-CA Kunstforum Wien, Palais Ferstel, Vienna, Austria

Unique Act: Five Abstract Painters, curated by Barbara Dawson, Dublin City Gallery, The Hugh Lane Gallery, Dublin, Ireland

New Horizons: the Collection of the Ishibashi Foundation, Bridgestone Museum of Art, Ishibashi Foundation, Tokyo, Japan

Rhythmus 21—Positionen des Abstrakten, Städtische Galerie im Lenbachhaus, Munich, Germany

Paper Trail II: Passing Through Clouds, the Rose Art Museum, Brandeis University, Waltham, Massachusetts

The 183rd Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum & School of

Fine Arts, New York

A Year in Drawing, Galerie Lelong, New York

Reflections on Light: 30 Years Galerie Bernd Klüser, Galerie Bernd Klüser, Munich, Germany

Camouflage II, curated by Helmut Friedel and Giovanni Iovane, Galleria Gentili, Prato, Italy

Hugh Lane Centenary Print Collection, the Hugh Lane Gallery, Dublin, Ireland

Made in Munich, Haus der Kunst, Munich, Germany

Fifty Percent Solitude, Kerlin Gallery, Dublin, Ireland

Color into Light, Museum of Fine Arts, Houston, Texas 2007

Klasse Scully, whiteBOX e.v., Kultfabrik, Munich, Germany Radharc, Galway Arts Centre, Galway, Ireland Beckett, Centre Georges Pompidou, Paris, France (I’m Always Touched) By Your Presence, Dear: New Acquisitions, Irish Museum of Modern Art, Dublin, Ireland Before and After Minimalism: A Century of Abstract Tendencies in the Daimler Chrysler Collection, Museu d’Art Espanyol Contemporani Fundacion Juan March, Palma de Mallorca, Spain Große Malerei, Lentos Kunstmuseum Linz, Linz, Austria Collecting the Past, Present, Future—Highlights of British Art From Turner to Freud, Abbot Hall Art Gallery, Kendal, England Themes and Variations in Painting and Sculpture, Museum of Fine Arts, Houston, Texas Frisch Gestrichen, Museum Franz Gertsch, Burgdorf, Switzerland DE-Natured. Painting, Sculpture and Work on Paper from the Anderson Collection + the Anderson Graphic Arts Collection, curated by Heather Pamela Green, San Jose Museum of Art, San Jose, California No answer is also an answer—Recent acquisitions 2005–2007, Irish Museum of Modern Art, Dublin, Ireland La vida privada—Coleccion Josep Civit, Centro de Arte y Naturaleza—Fundacion Beulas, Huesca, Spain

2006

Big Juicy Paintings (and more): Selections from the Permanent Collection, curated by Peter Boswell, Miami Art Museum, Miami, Florida

Nomaden im Kunstsalon – Begegnungen mit der Moderne von Bayer bis Sol LeWitt, Lentos Kunstmuseum Linz, Linz, Austria Homage to Chilida, curated by Kosme de Barañano, Guggenheim Museum Bilbao, Bilbao, Spain The Unknown Masterpiece, ARTIUM Centro – Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain Kunst und Photographie, Photographie und Kunst, Galerie Bernd Klüser, Munich, Germany Against the Grain, Contemporary Art from the Edward R. Broida Collection, the Museum of Modern Art, New York The Collector’s Collection, Ormeau Baths Gallery, Belfast, Northern Ireland Sammlung Essl—Kunst der Gegenwart, Kunstverein Villa Wessel, Iserlohn, Germany

2005

Von Paul Gauguin bis Imi Knoebel, Werke aus der Hilti art foundation, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein Western Biennale of Art: Art Tomorrow, curated by Edward Lucie-Smith, John Natsoulas Center for the Arts, Davis, California After The Thaw—Recent Irish Art from the AIB Collection, Crawford Municipal Art Gallery, Cork, Ireland The Giving Person, curated by Lorand Hegyi, Fondazione Culturale Edison, Palazzo delle Arti di Napoli, Naples, Italy Eye of the Storm: The IMMA Collection, Irish Museum of Modern Art, Dublin, Ireland Summer Group Show, McKee Gallery, New York Fotografia, Galeria Estiarte, Madrid, Spain Minimalism and After IV, DaimlerChrysler Contemporary, Berlin, Germany Points of View: Landscapes and Photography, Galerie Lelong, New York Summer Group Show, Kerlin Gallery, Dublin, Ireland Sean Scully, Stephan Girard, Nicolas Ruel, Galerie Orange Art Contemporain, Montreal, Canada; traveled to Galerie Lacerte Art Contemporain, Quebec City, Canada Soltanto Un Quadro Al Massimo, Accademia Tedesca Roma Villa Massimo, Rome, Italy Pairings II: Discovered Dialogues in Postwar Abstraction, Hackett-Freedman Gallery, San Francisco, California SIAR 50: 50 Years of Irish Art from the Collections of the Contemporary Irish Art Society, curated by Campbell Bruce and Catherine Marshall, Irish Museum of Modern Art, Dublin, Ireland

2004

Masterprints, Sundsvalls Museum, Sundsvall, Sweden Picasso to Thiebaud, Cantor Center for Visual Arts, Stanford University, Stanford, California A Vision of Modern Art, In Memory of Dorothy Walker, Irish Museum of Modern Art, Dublin, Ireland Pop Art to Minimalism: The Serial Attitude, Albertina, Vienna, Austria High Falutin Stuff, Irish Museum of Modern Art, Dublin, Ireland Bearings: Landscapes from the IMMA Collection, curated by Marguerite O’Molloy, Irish Museum of Modern Art, Dublin, Ireland In the time of shaking. Irish Artists for Amnesty International, Irish Museum of Modern Art, Dublin, Ireland Behind Closed Doors, curated by Susan H. Edwards, Katonah Museum of Art, Katonah, New York Views from an Island and Representing the Tain, Millennium Monument Museum, Beijing, China; traveled to Shanghai Art Museum, Shanghai, China Monocromos: De Malevich al Presente, curated by Barbara Rose, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain Matisse to Freud: A Critic’s Choice—The Alexander Walker Bequest, British Museum, London, England Bloomsday 16 Juni 1904–16 Juni 2004, Galerie Bernd Klüser, Munich, Germany The Gallery Selects…, Alexander and Bonin, New York Sean Scully / Jon Groom, Galerie 422, Gmunden, Austria Nueva tecnologia-nueva iconografia-nueva fotografia, Museu d’Arte Español Contemporani, Palma de Mallorca, Spain; traveled to Museo de Arte Abstracto Español, Cuenca, Spain Destination Germany, Kunst Galerie Fürth, Fürth, Germany La Collection, Hôtel des Arts, Toulon, France Beneath the Sky, Cavan County Museum, Ballyjamesduff, Ireland Iranische Flachgewebe im Spiegel der Moderne, curated by Isabella Studer-Geisser, Historisches und Völkerkundemuseum, St. Gallen, Switzerland

2003

Taché a Pelaires (Carroll, Cragg, Kounellis, Rousse, Scully), Centro Cultural Contemporani Pelaires, Palma de Mallorca, Spain Abstraction in Photography, Von Lintel Gallery, New York Human Stories – Photographs and Paintings from the Essl Collection, Ludwig Museum-Museum of Contemporary Art,

Budapest, Hungary Inaugural Group Show, Timothy Taylor Gallery, London, England Avant-garde und Tradition, Lentos Kunstmuseum Linz, Linz, Austria The Museum Store Collects, Arizona State University Art Museum, Nelson Fine Arts Center, Tempe, Arizona Divergent, Galerie Lelong, New York Streifzüge, Galerie Lelong, Zürich, Switzerland Nachbarschaften – Arbeiten auf Papier, Galerie Dittmar, Berlin, Germany Drawing Modern: Works from the Agnes Gund Collection, Cleveland Art Institute, Cleveland, Ohio The Eighties—Part II: USA, Galerie Bernd Klüser, Munich, Germany Grafiikkaa ja piirustuksia, Forum Box, Helsinki, Finland

2002

Selected Works—A Collection, Galerie Jamileh Weber, Zurich, Switzerland Profile of a Collection: The Gordon Lambert Trust Collection at IMMA, Irish Museum of Modern Art, Dublin, Ireland The Rowan Collection: Contemporary British and Irish Art, Irish Museum of Modern Art, Dublin, Ireland Augenblick, Foto / Kunst, Sammlung Essl, Klosterneuburg, Vienna, Austria Choose your partner—An International Drawing Show, Nusser & Baumgart Contemporary, Munich, Germany Abstraction, Ingleby Gallery, Edinburgh, Scotland 25 Bienal De São Paulo, Fundação Bienal De São Paulo, São Paulo, Brazil Epic Paintings from the Luther W. Brady Collection, Luther W. Brady Art Gallery, the George Washington University, Washington DC Eight New Paintings, Kerlin Gallery, Dublin, Ireland Extranjeros—Los Otros Artistas Españoles, Museo de Arte Contemporaneo Esteban Vicente, Segovia, Spain Margins of Abstraction, curated by Robert Knafo, Kouros Gallery, New York 177th Annual Exhibition, National Academy of Design, New York No Object, No Subject, No Matter…Abstraction in the IMMA Collection, Irish Museum of Modern Art, Dublin, Ireland Independent Visions, John Berggruen Gallery, San Francisco, California Watercolor, curated by David Cohen, New York Studio School, New York Colour / Concept, National Gallery of Australia, Canberra, Australia 110 Years: The Permanent Collection of the Modern Art Museum of Fort Worth, Modern Art Museum of Fort Worth, Texas

2001

Group Show, McKee Gallery, New York Group Show, McKee Gallery, New York Content is a Glimpse, Timothy Taylor Gallery, London, England A Century of Drawing: Works on Paper from Degas to LeWitt, the National Gallery of Art, Washington, DC Watercolor: In the Abstract, curated by Pamela Auchincloss; traveled to the Hyde Collection Art Museum, Glen Falls, New York; Michael C. Rockefeller Arts Center Gallery, SUNY College at Fredonia, New York; Butler Institute of American Art, Youngstown, Ohio; Ben Shahn Gallery, William Patterson University, Wayne, New Jersey; Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, Alabama

2000

Works on Paper, Timothy Taylor Gallery, London, England Sean Scully / Edwardo Chillida, Alan Cristea Gallery, London, England On Canvas: Contemporary Painting from the Collection, curated by J. Fiona Ragheb, Solomon R. Guggenheim Museum, New York Art Moves To Benefit The Cure, Benefiting the Christopher Reeve Paralysis Foundation, Bergdorf Goodman, New York; Auction at Sotheby’s New York L’Ombra Della Ragione: L’Idea Del Sacro Nell’Identita Europa Nel XX Secolo, Galleria D’Arte Moderna Bologna, Bologna, Italy Von Albers bis Paik: Konstruktive Werke aus der Sammlung DaimlerChrylser, Haus für Konstruktive und Konkrete Kunst, Zürich, Switzerland Colleccion MMKSLW: Viena, de Warhol a Cabrita Reis, Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain September Selections, Knoedler & Company, New York Group Show, Timothy Taylor Gallery, London, England Une Ville—Une Collection, Centre de la Gravure et de l’Image Imprimee, La Louviere, Belgium New Works, Galerie Jamileh Weber, Zürich, Switzerland

Import, curated by Catherine Marshall and Marguerite O’Molloy, Irish Museum of Modern Art, Dublin, Ireland Shifting Ground. Selected Works of Irish Art 1950–2000, Irish Museum of Modern Art, Dublin, Ireland

1999

Signature Pieces: Contemporary British Prints and Multiples, Alan Cristea Gallery, London, England Unlocking the Grid. Concerning the Grid in Recent Painting, Main Gallery, University of Rhode Island, Kingston, Rhode Island Side by Side, Knoedler & Company, New York Geometrie als Gestalt: Strukturen der Modernen Kunst von Albers bis Paik: Werke der Sammlung DaimlerChrysler, Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany; traveled as Von Albers bis Paik: Konstuktive Werke aus der Sammlung DaimlerChrysler, Haus für Konstruktive und Konkrete Kunst, Zürich, Switzerland The Art of Collecting, Flanders Contemporary Art, Minneapolis, Minnesota A Land of Heart’s Desire—300 Years of Irish Art, Ulster Museum of Art, Belfast, Northern Ireland Drawing in the Present Tense, curated by Roger Shephard and George Negroponte, Parsons School of Design, New York; traveled to Eastern Connecticut State University, Willimantic, Connecticut; North Dakota Museum of Art, Grand Forks, North Dakota Tore A. Holm’s Collection of Contemporary European Art—An Encounter between North and South, Centro Cultural del Conde Duque, Madrid, Spain The Essl Collection: The First View, curated by Rudi Fuchs, Sammlung Essl, Klosterneuburg, Vienna, Austria 25 Jahre / 25th Anniversary, Galerie Jamileh Weber, Zürich, Switzerland Pars Pro Toto, Galerie Lelong, Zürich, Switzerland 1999 Drawings, Alexander + Bonin, New York Zeitschnitt 1900–2000:100 Jahre, 100 Werke, Lentos Kunstmuseum Linz, Linz, Austria

1998 Zeit und Materie, Baukunst, Cologne, Germany

The Edward R. Broida Collection: A Selection of Works, Orlando Museum of Art, Orlando, Florida

Arterias: Collection of Contemporary Art Fundacio la Caixa, Malmö Konsthal, Malmö, Sweden

45th Corcoran Biennial, Corcoran Gallery of Art, Washington DC

Welcome Back!, Denver Art Museum, Denver, Colorado

Sarajevo 2000, curated by Lorand Heygi, Museum Moderner Kunst Stiftung Ludwig Wein, Palais Liechtenstein, Vienna, Austria

Lawrence Carroll and Sean Scully, Lawing Gallery, Houston, Texas

Cleveland Collects Contemporary Art, the Cleveland Museum of Art, Cleveland, Ohio

Contemporary Art; The Janet Wolfson de Botton Gift, Tate Gallery, London, England

Photographies, Galerie Lelong, Paris, France

On a Clear Day, Graphische Sammlung, Staatsgalerie Stuttgart, Stuttgart, Germany

Large Scale Works on Paper: La Va, LeWitt, Mangold, Scully, Serra, Winters, Danese, New York

Jan Dibbets / Sean Scully Fotografias, Galeria Estiarte, Madrid, Spain

Group Exhibition, Kerlin Gallery, Dublin, Ireland

Acquisitions 1997, Le Conseil General du Val-de-Marne FDAC exhibited at Hôtel du Departement, Creteil, France

Matrix Berkeley 1978–1998, University of California, Berkeley Art Museum and Pacific Film Archive, Berkeley, California

En Norsk Samling Au Europeisk Kunst, Trondheim Kunstmuseum, Trondheim, Norway 1997

Without trembling, Galerie Fortlaan 17, Gent, Belgium After the Fall: Aspects of Abstract Painting Since 1970, curated by Lilly Wei, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, New York British Arts Council Collection, Royal Festival Hall, London, England The Pursuit of Painting, curated by Stephen McKenna, IMMA- Irish Museum of Modern Art, Dublin, Ireland Prints, Galerie Lelong, New York Prints, Galerie Lelong, Paris, France A Century of Irish Paintings: Selections from the Collection of the Hugh Lane Municipal Gallery of Modern Art, Dublin, the Hugh Lane Municipal Gallery of Modern Art, Dublin, Ireland; traveled to the Hokkaido Museum of Modern Art, Sapporo, Japan; the Mitaka City Gallery of Art, Mitaka, Tokyo, Japan; Yamanashi Prefectural Museum of Art, Yamanashi, Japan The View From Denver: Contemporary American Art from the Denver Art Museum, Museum Moderner Kunst Stiftung Ludwig Wein, Vienna Austria

Thirty-Five Years at Crown Point Press: Making Prints, Doing Art, the National Gallery of Art, Washington DC; traveled to the Fine Arts Museum of San Francisco, San Francisco, California Singular Impressions: The Monotype in America, the National Museum of American Art, Washington, DC

1996

XV Salon des los 16, Museo de Antropologia, Madrid, Spain Balancing Act, Room Gallery, New York Nuevas Abstracciones, Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain; traveled to Kunsthalle Bielefeld, Bielefeld, Germany; Museu d’Art Contemporani de Barcelona, Barcelona, Spain Bare Bones, TZ Art, New York Festival de Culture Irlandaise Contemporaine, Ecoles des Beaux-Arts, Paris, France Thinking Print: Books to Billboards 1980–95, Museum of Modern Art, New York Holländisches Bad: Radierungen zur Renaissance einer Technik, Kunsthaus, Hamburg, Germany; traveled to Brecht-Haus- Weissensee, Berlin, Germany

1995

Seven From the Seventies, Knoedler & Company, New York New Publications, Brooke Alexander Editions, New York New York Abstract, curated by Lew Thomas, Contemporary Arts Center, New Orleans, Louisiana US Prints, Retretti Art Center, Punkaharju, Finland Color + Structure: Mangold, De Maria, Scully, Swanger, Thursz, Tusek, Tuttle, Galerie Lelong, New York

1994

Paper Under Pressure: Work in Collaboration with Garner Tullis, Sun Vallery Center Gallery, Ketchum, Idaho Recent Painting Acquisitions, Tate Gallery, London, England Contemporary Watercolors: Europe and America, curated by Diana Block, University of North Texas Art Gallery, Denton, Texas For 25 Years: Brooke Alexander Editions, Museum of Modern Art, New York Recent Acquisitions: Paintings from the Collection, IMMA, the Irish Museum of Modern Art, Dublin, Ireland An American Passion: The Susan Kasen Summer and Robert D. Summer Collection of Contemporary British Painting, curated

by Susie Allen and Stefan van Raay, McLellan Galleries, Glasgow, Scotland; traveled to the Royal College of Art, London, England L’Incanto e la Trascendenza, Galleria Civica de Arte Contemporanea, Trento, Italy British Abstract Art. Part I: Painting, Flowers East, London, England

1993

Tutte le Strade Portano A Roma, Palazzo delle Esposizioni, Rome, Italy Beyond Paint, curated by Maurice Poirier, Tibor de Nagy Gallery, New York Drawing in Black and White, the Museum of Modern Art, the Grolier Club, New York American and European Prints, Machida City Museum of Arts, Tokyo, Japan American and European Works on Paper, Gallery Martin Wieland, Trier, Germany Italia-America L’astrazione Redefinita, curated by Demetrio Paparoni, Dicastero Cultura, Galleria Nazionale d’Arte Moderna, Repubblica di San Marino, Italy Partners, Annely Juda Fine Art, London, England 25 Years: A Retrospective, Cleveland Center for Contemporary Art, Cleveland, Ohio New Moderns, Baumgartner Galleries Inc., Washington DC 5 One Person Shows, Galerie Jamileh Weber, Zürich, Switzerland The Turner Prize 1993, Tate Gallery, London, England Ausgewählte Druckgraphik, Galerie Bernd Klüser, Munich, Germany

1992

Surface to Surface, Barbara Krakow Gallery, Boston, Massachusetts Four Series of Prints: Donald Judd, Brice Marden, Sean Scully, Terry Winters, John Berggruen Gallery, San Francisco, California Recent Abstract Painting: Ross Bleckner, Kenneth Dingwall, Susan Laufer, Ken Nevadomi, Sean Scully, curated by David S. Rubin, Cleveland Center for Contemporary Art, Cleveland, Ohio Collaborations in Monotype from the Garner Tullis Workshop, Sert Gallery, Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts

Geteilte Bilder: Das Diptychon in der neuen Kunst, Museum Folkwang Essen, Essen, Germany Behind Bars, curated by Meg O’Rourke, Thread Waxing Space, New York Color Block Prints of the 20th Century, Associated American Artists, New York Whitechapel Open, Whitechapel Art Gallery, London, England Painted on Press: Recent Abstract Prints, Madison Art Center, Madison, Wisconsin Monotypes, Woodcuts, Drawings, Europaische Akademie Fur Bildende Kunst, Trier, Germany Garner Tullis Monotype Survey, SOMA Gallery, San Diego, California 44th Annual Academy-Institute Purchase Exhibition, American Academy of Arts and Letters, New York Verso Bisanzio, con disincanto, curated by Elio Cappuccio, Galeria Sergio Tossi, Arte Contemporanea, Prato, Italy

1991

Small Format Works on Paper, John Berggruen Gallery, San Francisco, California Postmodern Prints, Victoria and Albert Museum, London, England Moses, Richter, Scully, Louver Gallery, New York La Metafisica Della Luce, curated by Demetrio Paparoni, John Goode Gallery, New York Large Scale Works on Paper, John Berggruen Gallery, San Francisco, California

1990

Stripes, Barbara Krakow Gallery, Boston, Massachusetts Drawing: Joseph Beuys, Paul Rotterdam, Sean Scully, Arnold Herstand & Company, New York Sean Scully / Donald Sultan: Abstraction / Representation, curated by Michelle Meyers, Stanford University Art Gallery, Stanford, California Geometric Abstraction, Marc Richards Gallery, Santa Monica, California Artists in the Abstract, Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro, North Carolina

1989

The Elusive Surface: Painting in Three Dimensions, the Albuquerque Museum, Albuquerque, New Mexico Drawing and Related Prints, Castelli Graphics, New York Essential Painting: Kelly, LeWitt, Mangold, Scully, curated by Deborah Leveton, Nelson-Atkins Museum of Art, Kansas City, Missouri The 1980s: Prints from the Collection of Joshua P. Smith, National Gallery of Art, Washington, DC The Linear Image: American Masterworks on Paper, curated by Sam Hunter, Marisa del Re Gallery, New York

1988

17 Years at the Barn, Rosa Esman Gallery, New York In Side, Barbara Krakow Gallery, Boston, Massachusetts Works on Paper: Selections from the Garner Tullis Workshop, Pamela Auchincloss Gallery, New York New Editions, Crown Point Press, San Francisco, California and New York Large Works on Paper, Mayor Rowan Gallery, London, England Sightings: Drawings with Color, curated by Max Gimblett and Eleanor Moretta, Pratt Manhattan Gallery, Pratt Institute, New York; traveled to Instituto de Estudios Norteamericanos, Barcelona, Spain Sean Scully & Jose Maria Sicilia, New Editions, Crown Point Press, San Francisco, California, New York The Presence of Painting: Aspects of British Abstraction 1957–1988, Mappin Art Gallery, Sheffield, England; traveled to Laing Art Gallery, Newcastle upon Tyne, England; Hatton Gallery, Newcastle upon Tyne, England; Ikon Gallery, Birmingham, England; Harris Museum & Art Gallery

1987

The Fortieth Biennial Exhibition of Contemporary American Painting, curated by Ned Rifkin, the Corcoran Gallery of Art, Washington, DC Large Scale Prints, Barbara Krakow Gallery, Boston, Massachusetts Harvey Quaytman and Sean Scully, Ateneum, Helsinki Festival, Helsinki, Finland Drawing from the 80s—Chatsworth Collaboration, Carnegie Mellon University Art Gallery, Pittsburgh, Pennsylvania Drawn-Out, Kansas City Art Institute, Kansas City, Missouri Magic in the Minds Eye: Part 1 & 2, Meadow Brook Art Gallery, Rochester, Michigan Logical Foundations, curated by the Advisory Services, Museum of Modern Art, New York Works on Paper, Nina Freundenheim Gallery, Buffalo, New York

Winter, Museum of Modern Art, New York Large Works by Rowan Artists, Mayor Rowan Gallery, London, England Monotypes by Catherine Lee, John Walker, Sean Scully, Rubin Gallery, New York

1986

After Matisse, curated by Tiffany Bell, organized by Independent Curators Inc., New York; traveled to Queens Museum, Flushing, New York; Chrysler Museum, Norfolk, Virginia; Portland Museum of Art, Portland, Massachusetts; Bass Museum of Art, Miami Beach, Florida; the Phillips Collection, Washington, DC; Dayton Art Institute, Dayton, Ohio; Worcester Art Museum, Worcester, Massachusetts An American Renaissance in Art: Painting and Sculpture since 1940, Fort Lauderdale Museum of Fine Art, Fort Lauderdale, Florida Public and Private: American Prints Today, Brooklyn Museum of Art, New York Catherine Lee & Sean Scully, Cava Gallery, Philadelphia, Pennsylvania CAL Collects 1, University Art Museum, the University of California, Berkeley, Berkeley, California The Heroic Sublime, Charles Cowles Gallery, New York Structure / Abstraction, Hill Gallery, Birmingham, Michigan Courtesy of David McKee, David McKee Gallery, New York; traveled to Pamela Auchincloss Gallery, Santa Barbara, California Detroiters Collect: New Generation, Meadow Brook Art Gallery, Oakland University, Rochester, Michigan Recent Acquisitions, Contemporary Arts Center, Honolulu, Hawaii Group Drawing Show, Barbara Krakow Gallery, Boston, Massachusetts 25 Years: Three Decades of Contemporary Art, Judah Rowan Gallery, London, England

1985

Abstract Painting as Surface and Object, curated by Judith K. Collischan Van Wagner, Hillwood Art Gallery, C.W. Post Center, Long Island University, Brookeville, New York An Invitational, curated by Tiffany Bell, Condeso / Lawler Gallery, New York A Decade of Visual Arts at Princeton: Faculty 1975–1985, Princeton University Museum of Art, Princeton, New Jersey Abstraction / Issues, Tibor de Nagy Gallery, New York; traveled to Oscarsson Hood Gallery, New York; Sherry French Gallery, New York Art on Paper, Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro, North Carolina Masterpieces of the Avant-Garde, Annely Juda Fine Art / Juda Rowan Gallery, London, England Painting 1985, Pam Adler Gallery, New York Small Work, Juda Rowan Gallery, London, England

1984

From Color Surface: Painting About Itself, Barbara Krakow Gallery, Boston, Massachusetts An International Survey of Recent Painting and Sculpture, the Museum of Modern Art, New York Four Painters: Pat Steir, Sean Scully, Robert Mangold, Robert S. Zakanitch, McIntosh / Drysdale Gallery, Houston, Texas Part 1: Twelve Abstract Painters, Siegel Contemporary Art, New York ROSC ’84: The Poetry of Vision, the Guinness Hop Store, St. James’s Gate, Dublin, Ireland Currents #6, Milwaukee Art Museum, Milwaukee, Wisconsin Small Works: New Abstract Painting, Lafayette College and Muhlenberg College, Allentown, Pennsylvania Group Exhibition, Susan Montezinos Gallery, Philadelphia, Pennsylvania Hassam & Speicher Purchase Fund Exhibition, Academy of Arts and Letters, New York Contemporary Paintings and Sculpture, William Beadleston Fine Art Inc., New York Art on Paper, Galerij S65, Aalst, Belgium

1983

Three Painters: Sean Scully, David Reed, Ted Stamm, Zenith Gallery, Pittsburgh, Pennsylvania American Abstract Artists, Weatherspoon Art Gallery, University of North Carolina, Greensboro, North Carolina; traveled to Moody Gallery of Art, University of Alabama, Tuscaloosa, Alabama Nocturne, curated by Michael Walls, Siegel Contemporary Art, New York New Work New York (Newcastle Salutes New York), Newcastle Polytechnic Art Gallery, Newcastle upon Tyne, England Student’s Choice Exhibition, Yale University Art Gallery, New Haven, Connecticut Contemporary Abstract Painting, Muhlenberg College Center for the Arts, Allentown, Pennsylvania

1982

Critical Perspectives, curated by Joseph Masheck, P.S.1 The Institute for Art & Urban Resources, New York Recent Aspects of All-Over, curated by Theodore Bonin, Harm Bouckaert Gallery, New York

Pair Group: Current and Emerging Styles in Abstract Painting, curated by William Zimmer, Jersey City Museum, Jersey City, New Jersey Workshop F, Chelsea School of Art, London, England Group Invitational, Sunne Savage Gallery, Boston, Massachusetts Art for a New Year, organized by Art Lending Service, Museum of Modern Art, New York

1981

Arabia Felix, curated by William Zimmer, Art Galaxy Gallery, New York Catherine Porter Scully / Sean Scully: Arbeiten and Wandmalerei, Museum für (Sub-) Kultur, Berlin, Germany New Directions, curated by Sam Hunter, Sidney Janis Gallery, New York Art for Collectors, Museum of Art, Rhode Island School of Design, Providence, Rhode Island New Directions: Contemporary American Art from the Commodities Corporation Collection, Museum of Art, Fort Lauderdale, Florida; traveled to the Oklahoma Museum of Art, Oklahoma City, Oklahoma; Santa Barbara Museum of Art, Santa Barbara, California; Grand Rapids Art Museum, Grand Rapids, Michigan; Madison Art Center, Madison, Wisconsin; Montgomery Museum of Fine Arts, Montgomery, Alabama

1980

Marking Black, Bronx Museum of the Arts, New York New Directions, Princeton University Art Museum, Princeton, New Jersey The Newcastle Connection, curated by Mary-Helen Wood, Polytechnic Art Gallery, Newcastle upon Tyne, England The International Connection, Sense of Ireland Festival, Roundhouse Gallery, London, England Growing Up with Art, Leicestershire Collection for Schools and Colleges, Whitechapel Art Gallery, London, England ROSC, University College Gallery and National Gallery of Ireland, Dublin, Ireland Irish Art 1943–1973, Crawford Municipal Art Gallery, Cork, Ireland; traveled to Ulster Museum, Belfast, Ireland

1979

New Wave Painting, curated by Per Jensen, the Clocktower, New York Fourteen Painters, Lehmann College Art Gallery, City University of New York First Exhibition, Toni Birkhead Gallery, Cincinnati, Ohio The British Art Show, curated by William Packer, Mappin Art Gallery, Sheffield, England; traveled to Laing Art Gallery, Newcastle upon Tyne, England; Hatton Art Gallery, Newcastle upon Tyne, England; the University Gallery, University of Newcastle, Newcastle upon Tyne, England; Arnolfini, Bristol, England; Bristol and Royal West of England Academy, Bristol, England Susan Caldwell Gallery, New York Tolly Cobbold Eastern Arts 2nd National Exhibition, Fitzwilliam Museum, Cambridge, England; traveled to Norwich Art Gallery, Norwich, England; Ipswich, England; London; Sheffield, England

1978

Certain Traditions: Recent British and Canadian Art, the Edmonton Art Gallery, Edmonton, Canada; traveled to GlenbowAlberta Institute, Calgary, Canada; Mendel Art Gallery, Saskatoon; Art Gallery of Windsor, Windsor, Canada; Art Gallery of Hamilton, Hamilton, Canada; London Regional Art Gallery, London, England; Mostyn Art Gallery, Llandudno, Wales Rowan Gallery, London, England Small Works, Newcastle Polytechnic Art Gallery, Newcastle upon Tyne, England

1977

Post-Minimal Works, curated by Per Jensen, Nobe Gallery, New York British Painting 1952–1977, the Royal Academy of Arts, London, England Works on Paper—The Contemporary Art Society’s Gifts to Public Galleries 1952–1977, Diploma Galleries, the Royal Academy of Arts, London, England Rowan Gallery, London, England

1976

Invitational, John Weber Gallery, New York 7 Artists from the Rowan Gallery, Sunderland Arts Centre, Sunderland, England Rowan Gallery, London, England Invitational Exhibition, Susan Caldwell Gallery, New York

1975

Contemporary Art Society Art Fair, Contemporary Art Society, Mall Galleries, London, England The British Art Coming: Contemporary British Art, De Cordova Museum, Lincoln, Massachusetts Rowan Gallery, London, England The Arts Club, London, England

1974

Dixieme Biennale Internationale D’Art De Menton, Palais De L’Europe, Menton, France British Painting ’74, Hayward Art Gallery, London, England John Moores Liverpool Exhibition 9, Walker Art Gallery, Liverpool, England Rowan Gallery, London, England

1973

La Peinture Anglaise Aujourd’hui, Musée d’Art Moderne de la Ville de Paris, Paris, France Critics Choice, curated by William Varley, Gulbenkian Gallery, People’s Theatre, Newcastle upon Tyne, England

1972

1971

John Moores Liverpool Exhibition 8, Walker Art Gallery, Liverpool, England Northern Young Painters, Stirling University, Stirling, Scotland Art Spectrum North, Leeds City Art Gallery, Leeds, England; traveled to Laing Art Gallery, Newcastle upon Tyne, England; Manchester City Art Gallery, Manchester, England Annual Students’ Summer Exhibition, Hatton Gallery, University of Newcastle, Newcastle upon Tyne, England

1970

Northern Young Contemporaries, Whitworth Art Gallery, University of Manchester, Manchester, England Young Contemporaries, Royal Academy, London; traveled under the auspices of the Arts Council of Great Britain.

SITE–SPECIFIC WORK 2011 2009 2004

Paintings for the lecture hall, KPMG, Frederiksberg, Denmark Painting for Frederik 8.s Palæ, Amalienborg, Copenhagen, Denmark Painting ”Et skib er ikke en ø” for Takkelloftets Foyer, Operaen, Copenhagen, Denmark

PUBLIC COLLECTIONS Abbott Hall Art Gallery, Kendal, England Ackland Art Museum, University of North Carolina at Chapel Hill, North Carolina Akademie der Bildenden Künste, Munich, Germany Albertina, Vienna, Austria Albright-Knox Art Gallery, Buffalo, New York Allied Irish Banks Corporation, Dublin, Ireland Arkansas Arts Center Foundation Collection, Little Rock, Arkansas ARS AEVI Museum of Contemporary Art, Sarajevo, Yugoslavia Art Gallery of New South Wales, Adelaide, Australia Art Gallery of New South Wales, Sydney, Australia Art Gallery of Ontario (AGO), Ontario, Canada Art Gallery of South Australia, Adelaide, South Australia Art Institute of Chicago, Chicago, Illinois Arts and Humanities Research Council, Bristol, England Arts Council of Great Britain, London, England AXA Belgique, Brussels, Belgium Banque Européenne d’Investissement, Luxembourg, Luxembourg BAWAG Foundation, Vienna, Austria Bibliotheque Nationale de France, Paris, France Birmingham Museum of Art, Birmingham, England Bridgestone Museum of Art, Ishibashi Foundation, Tokyo, Japan

British Council Art Collection, London, England Carnegie Museum of Art, Pittsburgh, Pennsylvania Carpenter Center for the Visual Arts, Harvard University, Cambridge, Massachusetts Centre de la gravure et de l’image imprimee- La Louviere, Belgium Centre National des Artes Plastiques, Paris, France Ceolfrith Arts Centre, Sunderland, England Chase Manhattan Bank, New York Chatsworth House, Derbyshire, England Chazen Museum of Art, University of Wisconsin, Madison, Wisconsin Chemical Bank, New York Cincinnati Art Museum, Cincinnati, Ohio Cleveland Museum of Art, Cleveland, Ohio Coleccion Conei, Barcelona, Spain Consejería de cultura, Santander, Spain Contemporary Art Society, London, England Corcoran Gallery of Art, Washington, DC Council of National Academic Awards, Arts & Humanities Research Council Art Collection, Bristol, England Crawford Municipal Art Gallery, Cork, Ireland Daimler Art Collection, Stuttgart, Germany Dallas Museum of Art, Dallas, Texas David Winton Bell Gallery, List Art Center, Brown University, Providence, Rhode Island Denver Art Museum, Denver, Colorado Des Moines Art Center, Des Moines, Iowa Deutsche Bank, London, England Dublin City Gallery, the Hugh Lane, Dublin, Ireland DZ Bank AG Kunstsammlung, Frankfurt, Germany Eastern Arts Association, Cambridge, England Fine Arts Museum of San Francisco, de Young Museum, San Francisco, California First Bank of Minneapolis, Minneapolis, Minnesota Fogg Art Museum, Harvard University, Cambridge, Massachusetts Foundation Stiftelsen Focus, Boras, Sweden Ft. Lauderdale Museum of Art, Ft. Lauderdale, Florida Fundacio La Caixa, Barcelona, Spain Fundacion Allorda-Derksen, Barcelona, Spain Fundacion Bancaja, Valencia, Spain Fundación Caixa Galicia, La Coruña, Spain Fundacion Grupo Urvasco (Homage to Chillida Collection), Vitoria-Gasteiz, Spain Galleria d’Arte Moderna, Fondazione, Torino Musei Gemäldegalerie Neue Meister, Staatliche Kunstsammlungen Dresden, Dresden, Germany High Museum of Art, Atlanta, Georgia Hilti Art Foundation, Schaan, Liechtenstein Hirshhorn Museum and Sculpture Garden, Washington, DC Hood Museum of Art, Dartmouth College, Hanover, New Hampshire Hôtel des Arts, Toulon, France House of Fine Arts / Modern Gallery, László Vass Collection, Veszprém, Hungary Hunterian Art Galery, Glasgow, Scotland Iris and B Gerald Cantor Center for Visual Arts, Stanford University, Stanford, California Irish Museum of Modern Art, Dublin, Ireland IVAM Centre Julio González, Valencia, Spain Jean-Michel Cazes, Château Cordeillan-Bages, Pauillac, France Kemper Museum of Contemporary Art, Kansas City, Missouri Kunst und Museumsverein Wuppertal, Wuppertal, Germany

Kunsthalle Bielefeld, Bielefeld, Germany Kunsthaus Zürich, Zürich, Switzerland Kunstsammlung Nordrhein-Westfalen K20K21, Düsseldorf, Germany La Colombe d’Or, St. Paul de Vence, France La Fondation Edelman, Lausanne, Switzerland Laing Art Gallery, Newcastle upon Tyne, England Langen Foundation, Neuss, Germany Leeum, Samsung Museum of Art, Seoul, Korea Leicestershire Educational Authority, Leicester, England Lentos Kunstmuseum Linz, Linz, Austria Los Angeles County Museum of Art, Los Angeles, California Louisiana Museum of Modern Art, Humlebæk, Denmark Malaysian Exchange of Securities Dealing and Automated Quotation Collection, New York Manchester City Art Gallery, Manchester, England Maxine and Stuart Frankel Foundation for the Arts, Bloomfield Hills, Michigan Mellon Bank, Pittsburgh, Pennsylvania Metropolitan Museum of Art, New York Miami Art Museum, Miami, Florida Modern Art Museum of Fort Worth, Fort Worth, Texas Mount Holyoke College Art Museum, South Hadley, Massachusetts Musée d’art contemporain du Val-de Marne, Vitry-sur-Seine, France Musée d’Art Moderne de Saint-Etienne Métropole, Saint-Etienne, France Musée de Roland Garros, Paris, France Musée du Dessin et de l’Estampe Originale, Gravelines, France Musée Jenisch, Vevey, Switzerland Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France Museo Chillida-Leku, Hernani, Spain Museo de Arte Contemporaneo, Caracas, Venezuela Museo de Arte Contemporaneo, Monterrey, Mexico Museo de Arte Moderna di Bologna, Bologna, Italy Museo de Arte Moderno, Col. Bosques de Chapultepec, Mexico Museo de Arte Moderno, Mexico City, Mexico Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain Museu d’Art Contemporani de Barcelona, Barcelona, Spain Museu de Montserrat, Abadia de Montserrat, Barcelona, Spain Museum Folkwang, Essen, Germany Museum Moderner Kunst, Vienna, Austria Museum Pfalzgalerie, Kaiserslautern, Germany Museum of Fine Arts, Boston, Massachusetts Museum of Fine Arts Houston, Houston, Texas Museum of Modern Art, New York Nagoya City Art Museum, Nagoya, Japan National Gallery of Art, Washington, DC National Gallery of Australia, Canberra, Australia National Gallery of Victoria, Melbourne, Australia National Museum Cardiff, Cardiff, Wales Neue Galerie, Museumlandschaft Hessen, Kassel, Germany Neue Pinakothek, Bayerische Staatsgemäldesammlung, Munich, Germany Newsweek, New York Northern Arts Association, Newcastle upon Tyne, England Norwich Castle Museum, Norwich, England

Open Museum, Environmental & Heritage Resource Centre, Leicestershire, England Orlando Museum of Art, Orlando, Florida Paine Webber Group, Inc, New York Philadelphia Museum of Art, Philadelphia, Pennsylvania Philip Morris, Inc., New York Pier Arts Centre, Orkney, Scotland Power Institute, University of Sydney, Sydney, Australia Princeton University Art Museum, Princeton, New Jersey Reader's Digest Art Collection, New York Ruhr Universitat, Bochum, Germany Saastamoisen Säätiö, Helsinki, Finland Sala Rekalde, Bilbao, Spain Sammlung Essl, Vienna / Klosterneuburg, Austria Sammlung Ströher, Darmstadt, Germany San Diego Museum of Art, San Diego, California Santa Barbara Museum of Art, Santa Barbara, California Sara Hilden Art Museum, Tampere, Finland Seattle Art Museum, Seattle, Washington Shearson Lehman American Express Inc, New York Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, Nebraska Smith College Museum of Art, Northampton, Massachusetts Smithsonian American Art Museum, Washington, DC Snite Museum of Art, Notre Dame, Indiana Solomon R. Guggenheim Museum, New York Staatliche Graphische Sammlung München, Munich, Germany Staatliche Kunstsammlungen Dresden, Dresden, Germany Staatliche Museen Kassel, Neue Galerie, Kassel, Germany Staatsgalerie, Stuttgart, Germany Städel Museum, Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main, Germany Städtische Galerie im Lenbachhaus, Munich, Germany Strasbourg Mseum of Modern and Contemporary Art, Strasbourg, France Tate Gallery, London, England Tehran Museum of Contemporary Art, Tehran, Iran Tel Aviv Museum of Art, Tel Aviv, Israel The Art Institute of Chicago, Chicago, Illinois The British Museum, London, England The Broad Art Foundation, Los Angeles, California The Contemporary Museum, Honolulu, Hawaii The GAP Collection, San Francisco, California The Gertsev Collection, Moscow, Russia The Maramotti Collection, Reggio Emilia, Italy The Phillips Collection, Washington, DC The Rose Art Museum, Brandeis University, Waltham, Massachusetts The Saint Louis Art Museum, Saint Louis, Missouri Tokyo International Forum Art Collection, Tokyo, Japan UBS Art Collection, New York and Zurich, Switzerland UCLA Grunwald Center for the Graphic Arts / Hammer Museum, Los Angeles, California Ulster Museum, Belfast, Northern Ireland University of Limerick, Limerick, Ireland University of Northumbria, Newcastle, England Van Cliburn Foundation, Fort Worth, Texas

Victoria and Albert Museum, London, England Virginia Museum of Fine Arts, Richmond, Virginia Von der Heydt Museum, Wuppertal, Germany Wadsworth Atheneum Museum of Art, Hartford, Connecticut Walker Art Center, Minneapolis, Minnesota Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany Whitworth Art Gallery, Manchester, England Whitney Museum of American Art, New York Whitworth Art Gallery, Manchester, England Willy Michel Collection, Museum Franz Gertsch, Burgdorf, Switzerland Yale University Art Gallery, New Haven, Connecticut Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany

AWARDS 2013 2010 2008 2003 2001 2000 1984 1972

Becomes member of the Royal Academy of the Arts, London, England Honorary Degree, Doctor of Letters, Newcastle University Honorary Degree, Doctor Honoris Causa, Universitas Miguel Hernandez Honorary Degree, Doctorate of Fine Arts, Massachusetts College of Art, Boston and National University of Ireland Becomes member of Aosdána, Ireland Honorary Member of the London Institute of Arts and Letters NEA Artist’s Fellowship John Knox Fellowship

Portrait of Sean Scully taken in his New York studio September, 2013. Photo: Brian Buckley Photography: Robert Bean, Etienne Frossard and Christoph Knoch ISBN 978-0-9851410-9-7 Printed in Italy by Trifolio All images Š Sean Scully

Printed in an edition of 2,000 on the occasion of the 2013 exhibition

SEAN SCULLY night and day

Design John Cheim Essay John Yau Editor Ellen Robinson Special thanks to Adam Sheffer