Sean Scully, Landlines and other recent works by Kerlin Gallery

sean scully Landlines and other recent works

Essays by Rudi Fuchs Kelly Grovier Declan Long

De Pont Museum Kerlin Gallery

Page 1 Yellow Curve, 1965–66 Pastel and pencil on paper 29 × 22.4 cm (11 ⅜ × 8 ¾ in)

Panorama Scully

Rudi Fuchs (translated by Beth Oâ&#x20AC;&#x2122;Brien)

Holding the line by circling the square: the inner geometries of Sean Scully

Kelly Grovier

152 Home

Declan Long

225 Appendices

Rudi Fuchs

Panorama Scully

Hanging on the intersecting wall that faces us is a dark painting called Untitled (Doric) (2016; p. 17). It stretches out broadly: a panorama of grey hues, from pale to pitch-dark. My guide in this magnificent exhibition of work by Sean Scully mentioned that title as we contemplated the image. Actually, I hadn’t wanted to hear it. Once you know what the title is, you start looking for what it expresses – sometimes before the painting has a chance to express itself. In its rigid austerity the word Doric already sounded dark grey. Like a scent that enters a room and remains present, the title’s gravitas silently enveloped the painting. I thought of the weight of Doric columns standing on bases of stone. That weight of grey and dark grey and black could be seen in the painting too – and in the sturdiness with which the stern and uncompromising work was composed. Hanging in its vicinity was a similar work that involved a greater amount of black, which made it look even darker. It had the melodious title Doric Dusk (2011; p. 19) and conveyed, also in terms of its colors, a different tone. We looked at those two versions of Doric – from a certain distance, as if taking in an initial impression of a landscape. With paintings it is always the first impression that seduces us. Doric twilight: it’s quite something. And then, combined with that, they were hanging in the motionless grey / white spaces of Museum De Pont. The paintings appeared there in the meticulously arranged company of other works by Scully that jointly comprised an exhibition. I have already started out by describing this as ‘magnificent.’ That quality was partly brought about by the quiet daylight. Outside the sun blazed away, but indoors the light was slightly subdued. The floors are grey, the walls white. In those cool surroundings of calm light, these paintings with their dark hues radiated a magical warmth. It was as if they had found peace: the reticent Doric Dusk, with its quiet twilight colors; and, near it, Untitled (Doric) in which a few bright greyish blue planes hover, like a breaking dawn, among the ashen ones. It’s astonishing how many moods can be evoked by different (lighter and darker) shades of grey. Meanwhile it is through that tonality that a painting seduces us with its mysterious ways. What goes on in terms of color, what lies between dark grey and black, remains unfathomable until the painter shows it to us. Often there are scarcely any words to describe the tonal nuances of color. What we refer to as ‘lead grey’ is a medium shade. But the tonality of grey changes completely when pale yellow or green is added, or pink and orange. Perhaps it would look lighter as a result. When grey is mixed with brown or very dark yellow, the tone becomes autumnal. Combined with red or lilac, I believe, it takes on a sturdier appearance, but with blue a cooler one. This

is the chromatic realm in which the painter roams, certainly a dreamer of color like Sean Scully. Take Doric Dusk, for instance: a leaden, stratified joining of very dark colors. Some of them strike me as being dark brown combined with black, a real ‘pitch-black,’ but others are black with very dark blue or dark green. Those are hues of black that have a different kind of glow. In his development of the painting, Scully shifts back and forth among all sorts of tonalities of color – in search of barely visible nuances. Doric Sienna (2013; p. 24) gives us an idea as to how this works. That considerably smaller painting creates the impression of having been painted fairly quickly and impulsively, in the adventurous and blunt manner of an oil sketch. The large Doric paintings come across as being slower, as though more time was spent eyeing them. The pattern of rectangles in Doric Sienna is roughly like that of the other paintings. Upright and reclining planes, arranged in a fairly loose way. Because it is a small-scale work, those planes have been painted in single, short strokes with a wide, flat brush. One or two brushstrokes, slightly overlapping perhaps, filled the expanse of a plane. (By comparison: the horizontal planes of Doric Dusk, which measures over four meters in width, are each more than a meter wide – that scale allows for a more patient way of painting.) Meanwhile, the small painting involves the types of color that verge on a sandy yellow ochre called terra di Siena, a somewhat muted earthen color which therefore has no gleam. We see alternations of brownish red, yellowish brown, but also a warm grey and then darker hues that can hardly be named. The strokes have been put down with fairly thick paint, one area at a time in a single direction, horizontally or vertically, alongside each other and overlapping each other, all in repetition. Here and there, paint of a different color has been applied across an area that has already been painted. On the impasto surface, this leaves tracks made by the brush. Perhaps Scully had drawn a rectangular type of structure in crayon. The marks left by the brush show how, by placing those brief impasto strokes of paint on top of each other, he was making the shape of the planes sturdier and thicker. In principle, the rectangular shapes are flat. But when these are made heavier, as it were, with paint, they become more plump in form. They seem to have been modeled and given a bit of volume. Doric Dusk is a large painting that appears to be put together fairly sturdily. But, first and foremost, it has ‘width.’ There are fourteen rectangular forms that have been joined in three vertical segments of approximately equal width. They huddle against each other and thereby support each other as well. I suggested that

the segments are upright. Optically, that is their strong character. But perhaps I am being swayed by that Doric in the title and associate the sturdiness of those upright segments, standing alongside each other, with a row of robust Doric columns. It’s possible. There is a group of paintings which have, over the years, been given the title Doric, and occasionally added to this is a word which further describes the work. Aside from Doric Dusk and Doric Sienna, there is also a Doric Proteus (2013; p. 21) among the large pieces in this exhibition. It seems to me that Scully conceives the titles only after the work has been painted. The word Doric designates the ‘generic’ form of particular painting – in this case, more or less, a painting that has been put together compactly, with hues that have darkness and tonality. In my overall view of his work, Scully comes across to me as a rather physical painter who likes the thickness of oil paint. But he wants to accommodate that paint’s enigmatic energy in a workable form. He does not simply want to smear it about. An effective form of execution is then found in the process of painting. This, I imagine, is how he arrived at the essentially architectonic Doric series. The layout of these works is roughly as follows: in the three vertical segments we see a certain arrangement of alternately upright and reclining rectangles. Sometimes these are in groups of two, sometimes three. There is no distinct middle in their loose organization. The extent to which this stacking of rugged slabs can even be called a flat surface is debatable. I contemplated those rectangles (and their definition) for quite some time – designating those forms as such is actually a bit careless. They are, at most, approximate rectangles. In an orthodox geometric work (by Richard Paul Lohse, for instance) the surface is first divided, by means of straight lines, into a clear and rigid grid of rectangles. Color is then introduced in such a way that, in the ultimate pattern of rectangles, the edges of these are clear cut. The rectangles fit together in an extremely precise and subtle manner. The thinly painted surface of a geometrically abstract painting is as light as a feather. The surface of Doric Dusk, on the other hand, has a heavy appearance because the dark slabs of paint and color are heavy. Rather than being painted in a sharp-edged way, it seems as though the paint curls slightly inward along the edges. What takes place there is a wonderful messing about with impasto color by a painter who loves to give shape to paint. Otherwise the rugged forms of paint would be more rigid and flat. Beneath Scully’s heavy brush the surfaces acquire a truly miraculous volume. (Perhaps they are slabs of paint or even cuts, like peat.) In any case the black and blackish brown and dark grey in Doric Dusk bring to mind the dark colors of tilled soil. The colors are even

darker in hue since, as the title says, night is falling. The paint drags across the surface in heavy strokes. By now the slabs of paint seem to have weight. Dark black or blackish brown weighs more than grey or bluish grey. Again I look at the rugged surfaces. The painting has been constructed as a stacking. And I see that the dark colors weigh down on each other. Doric Dusk is thus a twilight painting. Everything is becoming dark as the leaden slabs of paint grow heavier – light slowly ebbs away. A shadowy glow lingers, leaving just enough light for us to discern the dark shapes. These are broad paintings, the large works from the Doric series. On the whole they are stratified horizontally, from the bottom up, which gives them an even broader appearance. Their space is atmospheric and has the character of landscape. In Doric Dusk we see the vanishing of light as this occurs in a landscape when the sun sets. Bright colors withdraw. Forms become dark. The sky’s early evening light is, at most, a drab kind of grey, since some residual light continues to shine beyond the horizon – as is likewise the case in Doric Proteus: here two planes (a blue-grey and a brownish grey one) stand upright with mysterious silence in the central segment of that painting. They are topped by a ‘crossbeam’ of very dark blackish brown. The rectangle just above that is a whitish grey, the washedout color of an overcast sky. Resting in the lower right corner of the painting, to the right of the upright twofold form, is a squat slab of black, twice as thick as the dark ‘crossbeam’ above the twofold form and thus visually twice as heavy as well. Hovering just above that is a rectangle of bright whitish grey, roughly as large as the block of black in the lower right corner. But to the left of the twofold form, so in the left segment of Doric Proteus, we see a stack of three reclining rectangles: greyish white at the bottom, then black, then another greyish white. These extend, in height, to just under the upper edge of the black ‘crossbeam’ above the twofold form in the middle. Rectangles (both upright and reclining) are gently bumping into each other everywhere. Then they become adapted. No symmetry can be found here. You see that Scully has painted every area of color individually and in this manner, one area at a time, and in fact feeling his way, has stacked the image. By that I mean: I see no plan whatsoever. In the previously described stack, of grey and black and grey, the lower greyish white and the piece of black above it both touch the blue-grey half of the twofold form to the right of these. But the rectangle of greyish white above that touches, in addition to the ‘crossbeam’ on the right, the two colors (black and lead grey) of the vertical and nearly square twofold form in the upper left corner of the painting. That same twofold form

appears again in the upper right corner. There, the two upright surfaces of color, black and lead grey, rest on the spacious reclining rectangle of whiter grey, which in turn rests on the block of black at the lower right. The left side of that whitish grey and black touches the brownish grey part of the upright twofold form in the middle segment. But the whitish grey rectangle extends beyond this. The light grey corner bumps, on the left, against the side of the black ‘crossbeam’ that tops the twofold form, but also against the black part of the sturdy black /grey, nearly square form in the upper right corner. Between those two nearly square forms we see, above the black ‘crossbeam’ atop the upright twofold form in the middle, yet another stacking of greyish white and black surfaces. That roughly resembles the stacking at the lower left of the painting. This is approximately how Doric Proteus is put together. ‘Approximately’ does describe the gist of it all. For a proper understanding it is necessary, however, to look at the painting closely, as only then do we become aware of the many shifts in the scale and placement of the rectangles. No two are precisely the same. They resemble each other, indeed ‘approximately.’ In this mise en scène of planes, the colors, too, bump into each other in precarious ways. This in turn gives rise to subtle yet visible fluctuations in the tone of the dark hues. In a classical landscape painting we see how light is set in motion among the clouds and then, here and there, leaves patches of radiance on volumes in the space. Those moving patches of light make the pictorial space in a painting astonishingly vast. Suddenly I saw, in Doric Proteus, the twofold form standing there in the middle as a sturdy upright volume of light and shade – I mean something as ‘magnificent’ as that mill in Jacob van Ruisdael’s painting The Windmill at Wijk bij Duurstede (c. 1668–70). Look at, follow, the nimble course of light in this dankly grey landscape. First it dances and filters through the clouds, then it shines on the robust cylindrical volume of the towering mill, then it glides across the reddish roof next to that. It also brightens the white sails of a boat on the river. Along the dark shore it gleams dimly on the water, where a breeze makes waves. In ‘approximately’ the same way, Scully’s paintings also involve a linking of light. In Doric Proteus, for example, one grey might tend to be a whitish grey. Further on in the development of the painting, the grey shifts to blue or to muddy yellow, or it becomes the brackish brown of water. Such gradations are beyond words. They elude language. That’s why they are painted. Meanwhile, the painting does have a certain movement or progress. The sequence of the planes can be followed like a movement: upward, to the right,

Jacob Isaacksz. van Ruisdael The Windmill at Wijk bij Duurstede, c. 1668–70 Oil on canvas 83 × 101 cm (36 ⅝ × 39 ¾ in) Rijksmuseum, on loan from the City of Amsterdam (A. van der Hoop Bequest)

then more to the right at the same height, upward again or downward – in any case, ‘up and down and back and forth and onward.’ That is ‘approximately’ how that movement progresses. Spatially, this is as vast as a panorama. What occurs among those moving planes can likewise be seen with those trembling dark colors. Because the space moves in such surges, it opens up to the mysteries of color. What I mean is, Finnegans Wake begins like this: ‘riverrun, past Eve and Adam’s, from swerve of shore to bend of bay.’ Without a capitalization of the first word, since the river had always been flowing in this epic landscape. Perhaps I should point out that, like Joyce’s panorama, the Doric paintings of Scully have no capital letters. Their movement is without delay. The Proteus in the painting’s title was presumably the son of Poseidon and keeper of his seals. Best known is the ability of Proteus to undergo agile transformations. He lived in the ever-flowing water of the sea. The painting Doric Proteus also relates to the strange depiction of metamorphoses of nearly equivalent forms in the midst of mysterious gradations of dark colors in dark light. Think, too, of the varying colors of a seal’s grey as it romps about, glistening in the light, in sea-grey water. So what does the seal ‘discover?’ With artists the imagination heads for the inconceivable. As demonstrated in these paintings, Scully takes it as far as he can. Translated by Beth O’Brien

Untitled (Doric), 2016 Oil on aluminium 279.4 × 406.4 cm (110 × 160 in) 16

Doric Dusk, 2011 Oil on aluminium 279.4 × 406.4 cm (110 × 160 in) 18

Doric Proteus, 2013 Oil on aluminium 279.4 × 406.4 cm (110 × 160 in) 20

Doric Sienna, 2013 Oil on linen 71.1 × 81.3 cm (28 × 32 in) 24

Doric Metes, 2013 Oil on linen 71.1 × 81.3 cm (28 × 32 in) 25

The life of man is a self-evolving circle, which, from a ring imperceptibly small, rushes on all sides outwards to new and larger circles, and that without end. The extent to which this generation of circles, wheel without wheel, will go, depends on the force or truth of the individual soul. â&#x20AC;&#x201C;Â Ralph Waldo Emerson, 1841

Kelly Grovier

Holding the line by circling the square: the inner geometries of Sean Scully Think of the Irish-American artist Sean Scully and you think of stripes. Never circles. Long stripes, thin stripes, short and wide stripes. Stripes going this way. Stripes going that way. Fat stripes, plump as pipes, packed tight as timebombs. But always stripes, crushed into and out of all proportion. Never circles. Stacked up, end-on-end, Scully’s signature stripes, painted over the course of forty years, would mount an immeasurable vertical ascent – a ladder whose bold and brushy rungs are engineered to lift us to an elevated elsewhere beyond the vanishing points of vision. Lay them out flat across the ground and Scully’s stripes, side-by-side, could laminate an undiscovered country, mapping a strange and estranging lateral realm of compressed borders and tripwires, of thresholds and skirting boards, shelves and sills, roof beams and contrails, hedges and horizons, fault lines and flat lines: all the lines we live our lives between. Think of Sean Scully, and you quickly find yourself enmeshed in an endlessly emerging blueprint for a universe of parallels and perpendiculars that is impossible to construct because it already has been. Inside you. A cosmos entirely angular and utterly without circles. Or so it has long seemed. Until now. Indeed before there were stripes, we discover, there were in fact curves. Significant curves. Not the tender contours of the earliest figurative works in this exhibition, such as the pencil on paper Portrait of woman reading from 1964 (p. 39; on display in cabinet 1), or the oil pastel on paper Seated Woman II from two years later (p. 47), undertaken while the aspiring young artist attended evening classes at London’s Central School of Art. Not these only. The artist’s first forays into fully fledged abstraction – such as the spare pastel-and-pencil Yellow Curve (c. 1965–66; p. 1) and the multi-coloured strands that synchronise into Bend (1968; p. 71), a sinuous squiggle that teases us out of thought – reveal a formative fascination with the flexuousness of form and the serpentine sensuality of shape. And there are circles too. Seminal ones. Though critics and admirers of Scully’s paintings often equate the interior design of his imagination with the rectangular colour fields of Mark Rothko and the hazy horizontal cummerbunds that the American Abstract Expressionists cinched tight around their waists, in fact Scully’s instinct for abstraction predates any serious study of Rothko’s work. From the start, Scully’s artistic consciousness was less in sync with the frequency of Rothko’s bandwidths of colour than with the whorling music vibrating from the spheres that orbit the work of Wassily Kandinsky.

Untitled, 1968 Gouache on paper 30.5 × 22.9 cm (12 × 9 in) 28

One of the most intriguing paintings in Landlines and other recent works is an early watercolour (on display in cabinet 3) – an abacus of thirty shuddering circles squeezed within as many small squares (p. 28). Painted in 1968, the work echoes the structure and energy of Kandinsky’s Color Study, Squares with Concentric Circles (1913) while at the same time amping up its antecedent’s edginess, as if the Russian avant-garde artist’s famous image had slowly incubated in the Petri dish of Scully’s cultured psyche before fuzzing over in fevered replication. Of the companionability between the soul of his work and Kandinsky’s, Scully has been characteristically candid. ‘I should say something here about abstraction’, the artist explained in a lecture he delivered at the Albuquerque Museum of Art and History in New Mexico in February 1989, about why I make abstract paintings. I agree with Kandinsky’s view that the depiction of the appearance of the real world somehow obstructs access to the spiritual domain. And it is that domain that I am trying to gain access to with my paintings. That is what I am always trying to address. And that’s why I paint abstractly.

Wassily Kandinsky Color Study, Squares with Concentric Circles, 1913 Watercolour, gouache and crayon on paper 23.9 × 31.6 cm (9 ⅜ × 12 ⅜ in) Städtische Galerie im Lenbachhaus, Munich

From the moment Scully swabbed a suggestive circlet into a square of a contrasting colour, consciously or unwittingly echoing Kandinsky’s iconic composition, he implanted a spiritual spore that would be left to germinate undisturbed for nearly half a century. Though, in the intervening years, he would devote himself to refining the visual vocabulary of vertical and horizontal stripes that dominate his unique aesthetic lexicon, the circle, as a symbolic shape, crouched in his consciousness like a hand grenade waiting to blow. Now it has. An exceptional new series of oil-on-aluminium and oil-pastelon-paper works undertaken in 2016–17 and collectively entitled Eleuthera is the mesmerising consequence of the circle’s slow simmering in Scully’s imagination. Based on photographs that Scully took of his young son Oisin playing in the sand on a Caribbean beach, each of the constituent works that comprise Eleuthera (the name of the Bahamian island where the images were captured) features a highly stylised physique of a kneeling child busy building with sand – his supple anatomy jigsawed into a simple puzzle of elegant colour. Dictating the intimate geometry of each figuratively abstract and abstractly figurative work is the interposition of a circumscribed sphere, or self-consciously imposed circle, that surrounds his son like a protective barrier: a mystical

membrane that observers may find themselves likening to an amniotic sac of the unborn – an inner-planetary orb of unrupturable affection, a rondure of love. Placed side-by-side with Kandinsky’s colour study (or indeed with Scully’s own early amplification of it), the works that comprise Eleuthera (from the Greek eleutheros, meaning ‘free’) capture poignantly the miracle of life sprung from the simplicity of a single spherical cell – the spiritual primacy of the long-gestating circle. The first representational works created by Scully in half a century (and indeed since the artist’s emergence as one of the most important abstract painters of his age), the Eleuthera paintings represent as daring a shift in artistic vision as Philip Guston’s migration in the opposite direction in the late 1960s, just as the young Scully himself was beginning to experiment with the very abstraction that Guston was renouncing. With Eleuthera, Scully’s imagination has come full circle to re-embrace the meandrous mystery of life’s curves and cambers, ambits, and arcs. That the aperture through which Scully should be inclined to reconnect with the curvilinearity of existence should be his son is particularly poignant and links the intensity and achievement of the Eleuthera series with the long and affecting tradition of artists depicting their sons, from Rembrandt’s likenesses of Titus van Rijn, staring from the same grubby umber gloom from which his father serially summons his own countenance, to Picasso’s pantomime portrayal of his son Paulo as the tragic-comedic Pierrot. As with these notable forebears, Scully’s depictions tread a lyrical line between unchecked celebration of the enduring vibrancies of youth and a wistful awareness of childhood’s fleetingness and fragility. The circle that surrounds Oisin in Scully’s series is as vulnerable as it is inviolable and demarcates a space that is simultaneously physical, emotional, psychological, and spiritual – a space whose depths only a parent whose soul has been shaped by loss could ever fully fathom. Now pink and perfectly round, as if following the pencilled spin of a compass, now depressed into an oval, as if succumbing tenderly to the pressure of a loving palm, impatient for the contact of a prenatal kick, the repeating ring that rotates around the encircled child is mysteriously elastic – at once delicate and indestructible, cosmic and corporeal, manifest and imaginary. Scully’s stripes – whether straight or circular – are never incidental or geometrically objective. They delineate a deep interior cartography that originates, invariably, in the arduousness of outward experience before plunging centripetally inward. The series of works that lends its collective title to the name of this

exhibition, Landline, is no exception. In their deceptively simple bands of lush colour we can trace the existential trajectory from the suggestive cells of Scully’s Kandinsky-esque watercolour of 1968 to the complex orrery of orbiting Oisins that comprise Eleuthera. As an expansive sequence, Landline is the offspring of an agonising recent chapter in Scully’s life in which he suffered simultaneously from intense lower back pain and excruciating abdominal cramps brought on by his decision to withdraw, cold turkey, from the destructive opioid medication that he had been prescribed to ease the trauma of his trapped spinal nerves. Unable to sleep for weeks on end, Scully found himself in the winter of 2014 undertaking nightly a perilous insomniac ritual of staggering along the verge of an icy New York highway in an effort to flee the wrenching torments of his own frame – his frazzled mind and muscles toeing a dangerous tightrope. The enduring memorial of that period of anguish is the luminous elegance of Landline, whose vibrating beauty and simple respendence belie the fervour of its underlying vexation. Though Scully had begun, in fits and starts, as early as 2003, to experiment with embodiments of portrait-orientated linen canvases stacked with horizontal bands of varying widths that he called ‘landlines’ – such as Colored Landline (2003; p. 199), Landline Sand (2003; p. 199), Landline Pale Blue 8.06 (2006; p. 197), and Landline Black (2010; p. 197) – it took the metabolic catalyst of mingled mental and muscular anguish for him to perceive in the spare chords and understated notes of Landline a clean new language for scoring a deeply personal Miserere Mei. In his fresh iterations of Landline, undertaken in the context of his intense back pain, Scully’s brushstrokes are made to echo against a support of aluminium, rather than linen – a symphonic shift in retinal resonance that amplifies the timbre of their inimitable eye-music. The artist’s decision to move from a soft support whose organic fibres are woven and manually stapled into place to one involving instead industrial artifice and the manufactured might of melting, crushing, slabbing, and rolling metal is significant, and poetically underscores the migration in emotive urgency of the series from something experimental to something vital. Scully began auditioning aluminium as a substitute for linen canvas two decades ago for a pair of so-called ‘floating paintings’ – works that jut from the wall at a perpendicular angle like shutters whose hinges have rusted rigid at 90 degrees, neither opened nor closed. Scully, it seems, initially regarded aluminium as especially conducive to the construction of a work that interjects itself physically into the space in which it is to be encountered, as if swinging wide or slamming shut a screen door between

art and life. This is instructive. It reveals something of the essence of Landline. As their titles suggest, paintings such as Landline Edge (p. 179) and Landline Deep Veined (p. 165), both created in 2017, delimit ambiguous spaces on the borders of being – here and there, what is outside and what is inside. Though the inception of Landline predates the eventual emergence of the Eleuthera series, the impulse that drives both is the same: a determination to survey the inestimable perimeter that encompasses the soul. The multiple horizons packed into Landline are, as T.S. Eliot might have described them, ‘deep lanes’ that insist on the direction to the electric heat of the visionary coast of enshrined innocence that is Eleuthera. Within the poetic logic of the exhibition, the austere construction and epic architecture of a third major series by Scully represented in the exhibition, Doric, is significant. The presence here of three colossal oil-on-aluminium embodiments of the series (begun in 2008 as homage to the manifold contributions to culture made by Ancient Greece) – Doric Dusk (2011; p. 19), Doric Proteus (2013; p. 21), and Untitled (Doric) (2016; p. 17) – ensures that the salience of verticality to the artist’s imagination is not eclipsed by the arresting circularities of Eleuthera or the emphatic horizontalities of Landline. Stark in contrast with the spirited splendour of the paintings and pastels devoted to his son, the large aluminium Dorics on display here, as well as the smaller iterations of the series on linen also present, are tonally stringent and uncompromising. At the same time, they are far more complex in their compressed sculpturing than the expansive Landlines and succeed in interjecting into the atmosphere of the exhibition a contemplative air of philosophical reflection. ‘Based more or less’, Scully has said, explaining the birth of the series, ‘on the classical proportions of two to three’, ‘the inspiration for Doric was the architectural form that accompanied the birth of democracy … I wanted to express order and humanism.’ But whatever the ‘order’ expressed in the Jenga’d slabs of pulsating darkness and polished crepuscularity captured by Doric Dusk might ultimately be, it is not one whose accuracy relies on scholarly corroboration. Art isn’t history. It’s truer than that. A pioneering chronicler of humanity, Scully has coined an unrivalled visual vocabulary through which every shape of shared and inherited experience – from the distant cultural past of ancient civilisation, to the intimacies of fatherhood, to even the intense turmoils of physical pain – can be recounted. Landlines and other recent works offers a remarkable opportunity to acquaint oneself with the contours of that alluring language – a lexicon that seeks to square the strange circle of being by steadfastly holding its line.

Untitled, 1964 Pencil on paper 33.8 × 24.8 cm (13 ¼ × 9 ¾ in) 36

Untitled (Portrait of woman), 1964 Pencil on paper 34 × 25.4 cm (13 ⅜ × 10 in) 37

Untitled (portrait), 1964 Pencil on paper 33.8 × 24.8 cm (13 ¼ × 9 ¾ in) 38

Portrait of woman reading, 1964 Pencil on paper 33.8 × 24.8 cm (13 ¼ × 9 ¾ in) 39

Woman portrait, 1964 Pencil and acrylic on paper 34 × 25.4 cm (13 ⅜ × 10 in) 40

Untitled (Portrait of woman), 1964 Crayon on paper 34.3 × 24.9 cm (13 ½ × 9 ¾ in) 41

Untitled (Seated Figure), 1966–67 Oil pastel on paper 28.7 × 36 cm (11 ¼ × 14 ¼ in) 42

Three Women Bearing Arms I, 1966–67 Oil pastel on paper 27.6 × 37.5 cm (10 ⅞ × 14 ¾ in) 44

Untitled, 1966–67 Oil pastel on paper 20.8 × 20 cm (8 ¼ × 7 ⅞ in) 46

Seated Woman II, 1966–67 Oil pastel on paper 30.5 × 29.5 cm (12 × 11 ⅝ in) 47

Untitled, 1966–67 Oil pastel on paper 20.7 × 20.4 cm (8 ⅛ × 8 in) 48

Untitled, 1966–67 Oil pastel on paper 31.6 × 29.6 cm (12 ½ × 11 ⅝ in) 49

Untitled, 1966–67 Oil pastel on paper 40.4 × 30.4 cm (15 ⅞ × 12 in) 52

Abstract Four Square Figures, 1966 Oil pastel and graphite on paper 88.9 × 57.4 cm (35 × 22 ⅝ in)

Two Colorful Abstract Figures, 1966 Pastel, watercolour, graphite on paper 30.5 × 40.6 cm (12 × 16 in) each 55

Untitled, 1966 Oil pastel and pencil on paper 40.6 × 30.4 cm (16 × 12 in) 58

Untitled, 1966 Oil pastel on paper 40.6 × 30.4 cm (16 × 12 in) 59

Two Abstract Landscapes, 1965–66 Gouache on paper 49.5 × 20.8 cm (19 ½ × 8 ¼ in) 60

Three Rectangles of Colourful Abstract Stripes, 1965–66 Pastel on paper 38.1 × 30.5 cm (15 × 12 in) 61

Untitled, 1966 Oil pastel on paper 40.6 × 30.4 cm (16 × 12 in) 62

Untitled, 1966 Oil pastel on paper 40.6 × 30.4 cm (16 × 12 in) 63

Abstract – Khaki and Purple, 1965 Gouache on paper 34.8 × 49.8 cm (13 ¾ × 19 ⅝ in) 64

Untitled, 1968 Gouache on cardstock 14.6 × 20.3 cm (5 ¾ × 8 in)

Untitled, 1968 Gouache on cardstock 14.6 × 20.3 cm (5 ¾ × 8 in) 65

Untitled, 1968 Oil pastel on paper 37.8 × 50.6 cm (15 × 20 in) 66

Untitled, 1968 Oil pastel on paper 37.8 × 50.5 cm (14 ⅞ × 19 ⅞ in) 67

Untitled, 1968 Gouache on paper 37.8 × 50.6 cm (15 × 20 in) 68

Bend, 1968 Oil pastel on paper 50.3 × 37.8 cm (19 ¾ × 14 ⅞ in) 70

Fort # 1, 1978 Oil on canvas 182.9 × 182.9 cm (72 × 72 in) 74

Untitled, 1968 Ink on paper 38 × 50.5 cm (15 × 19 ⅞ in) 76

Untitled, 1968 Gouache and ink on paper 29.5 × 43.3 cm (11 ⅝ × 17 in) 77

Untitled, 1969 Pencil on paper 38 × 50.5 cm (15 × 20 in) 78

Untitled, 1968 Gouache on cardstock 17.8 × 24.8 cm (7 × 9 ¾ in)

Untitled, 1968 Gouache on cardstock 17.8 × 24.1 cm (7 × 9 ½ in) 79

Untitled, 1966 Oil pastel on paper 40.6 × 30.4 cm (16 × 12 in) 82

Untitled, 1966 Gouache, watercolour and pencil on paper 40.6 × 30.4 cm (16 × 12 in) 83

Untitled, 1966 Gouache on paper 40.6 × 30.4 cm (16 × 12 in) 84

Untitled, 1966 Gouache on paper 30.4 × 40.6 cm (12 × 16 in) 86

Untitled, 1966 Gouache and watercolour on paper 40.6 × 30.4 cm (16 × 12 in) 87

Abstract – Four Rectangles, 1966 Poster paint, oil pastel and graphite on paper 55.9 × 76.2 cm (22 × 30 in) 88

Triptych, 2012 Etching, aquatint, and spitbite on paper 38.1 × 29.8 cm (15 × 11 ¾ in) each 92

Doric, 2011 Etching, aquatint, and spitbite on paper 76.8 × 100.6 cm (30 ¼ × 39 ⅝ in) 94

Wall of Light Blue Corner, 2010 Aquatint on paper 73 × 78.7 cm (28 ¾ × 31 in) 96

Black and Red, 2008 Aquatint on paper 72.4 × 74.9 cm (28 ½ × 29 ½ in) 97

Cut Ground Red, 2012 Etching and aquatint on paper 76.8 × 101.6 cm (30 ¼ × 40 in) 98

6.2.00, 2000 Pastel on paper 120 × 150 cm (47 ¼ × 59 ⅛ in) 100

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Doric 3.24.12, 2012 Pastel on paper 101.6 × 152.4 cm (40 × 60 in) 102

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Mirror, 2003 Pastel on paper 122 × 91.5 cm (48 × 36 in) 104

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Eleuthera, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 110

Eleuthera, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 111

Eleuthera, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 112

Eleuthera 3.12.17, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 113

Eleuthera, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 114

Eleuthera, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 115

Eleuthera 3.13.17, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 116

Eleuthera 2.6.17, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 117

Eleuthera, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 118

Eleuthera, 2017 Oil pastel on paper 45.7 × 61 cm (18 × 24 in) 119

Eleuthera, 2016 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 122

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Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 124

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Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 126

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Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 128

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Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 130

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Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 132

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Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 134

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Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 136

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Eleuthera, 2017 Chromogenic digital prints 101.6 × 76.2 cm (36 × 30 in) each 142

Eleuthera, 2016 Chromogenic digital print 35.6 × 27.9 cm (14 × 11 in) 149

The sea is barely wrinkled and little waves strike the sandy shore. – Italo Calvino 1

The beach now undergoes tempestuous change. The sand is the colour of confusion, neither dull nor bright, and yet it suits the quality of the atmosphere and the wind. The sea is unseasonably foamy … It is haloed by flickering surfaces. – Edouard Glissant 2

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Declan Long

Home

A 1999 photograph, Landline, brings us close to the enduring fascinations – and insistent ‘forces’ – at the heart of Sean Scully’s work. It is a judiciously cropped image of an unidentified coastline: a picture free of contextualising information, concentrating on the essential encounter between land and sea. Rippling, modulating, blue-green ocean water turns to spreading foamy whiteness as gently churning waves break on a stretch of grey, gravelly shore. It is a situation of fundamental contact and contrast. Our attention is directed to unavoidable differences – between the characteristics of one space and another, between the conditions of one substance and another – but also to necessary points of connection and to uneven and unfixed lines of separation. Try to look as closely as Sean Scully urges us to – as close, maybe, as he has trained and compelled himself to look over a lifetime of making paintings and photographs – and we might discover an immersive, unending plurality of fluctuations and anticipated sensations in the picture’s loosely defined compositional zones. Look first at the altering, lightening-and-darkening blue-green of the photograph’s upper section: a blurry, bumpy multiplicity of criss-crossing, rising-and-falling wavelets. Here is an instant of never-ending, multi-directional movement within a mass of steadily heaving water – held in momentary tension by the camera. It is a study of the unresting, incoming sea that brings to mind Theodore Roethke’s notes on wave motion in his ‘Meditation at Oyster River’:

Landline, 1999 C-print 74.4 × 101.6 cm (28 ½ × 40 in) Collection Alison and Peter W. Klein, Eberdingen, Germany

… the waves coming forward without cessation, The waves, altered by sandbars, beds of kelp, miscellaneous driftwood, Topped by cross-winds, tugged at by sinuous undercurrents, The tide rustling in, sliding between the ridges of stone, The tongues of water, creeping in, quietly.3 Roethke, like Scully, responds to the sea’s rhythmic regularity and at the same time recognises its persistent polymorphousness. He sees each wave as differently altered, topped, and tugged. He sees water that is rustling in, then creeping in. He sees the tides forever renewing themselves as they repeatedly arrive. But take a good look too at that patch of stony sand in the lower part of the photograph: an infinity of dark-grey / light-grey variation, almost as impossible to visually stabilise as TV static. And when we see that rough sand we feel it too. We recall the sudden, unbalancing prickliness of such ground underfoot, remembering how we sink through the undulating, uncertain surface with each

1. Italo Calvino, Mr Palomar (London: Vintage, 1999; first English publication, 1985), p. 3. 2. Édouard Glissant, Poetics of Relation (Michigan: University of Michigan Press, 1997), p. 125. 3. Theodore Roethke, Selected Poems (New York, Doubleday, 2005), pp. 86–89. [First published in The Far Field, 1964.]

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unsteady, ambiguously pleasurable step. Scully shows us solid ground that is as unpredictable as the waves beyond. And so we look too, then, at the point of intersection between these compared pictorial zones: at the indeterminate space joining the wave’s coming-and-going with the land’s perceived, but imprecise, limit. Here, among the soft convulsions at the sea’s edge, are chanced-upon, appearing-and-disappearing patterns: delicate lacy arrangements of open-andclosed white space within the calming wave-water. In this simple meeting place between two thick stripes of land and sea, there is almost too much movement for the eye to trace. But at this ‘landline’ edge we might nonetheless gain new insight into the subtlety and potency of the forces that bring constitutive components of the world together. Sean Scully has written beautifully about how such shoreline situations influence the coinciding forms and contending forces of his paintings: I try to paint this, this sense of the elemental coming-together of land and sea, sky and land, of blocks coming together side by side and stacked in horizon lines endlessly beginning and ending – the way the blocks of the world hug each other and brush up against each other, their weight, their air, their colour, and the soft uncertain space between them.4 There is a bottom-line clarity to the style and scale of Scully’s commitment: an attention to first principles of the world’s geometry and geography (respectively meaning, of course, ‘earth-measurement’ and ‘earth-writing’). In this regard, minimalism’s spirit of radical reduction – its last-ditch modernist imperative towards extreme artistic distillation – remains an abiding influence. But there is also emphatic artistic openness and expressive tenderness in Scully’s engagement with ‘the way the blocks of the world hug each other’. As his work has time after time revealed, contact between the cohabiting forms within a painting can occur at ever-varying degrees of intensity. A ‘hug’ between the individual ‘blocks’ in a Scully painting could, at one time, seem preliminary and tentative – an incomplete connection. At another moment we might sense a deep, lasting embrace between partner pieces: a meeting of forms that becomes a mutually transformative merging. Equally, the suggestion of one shape ‘brushing up against’ another could imply a gentle, fleeting, unassertive touch – or, alternatively,

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4. Sean Scully, ‘Landline’ in Resistance and Persistence: Selected Writings, ed. Florence Ingleby (London: Merrell Publishing, 2006), p. 125.

a more purposeful and invasive imposition of pressure. Over and over again, in so many distinct ways, Scully tests how the members of his growing family of forms and colours can be seen as either comfortably or more anxiously at home with each other. One of the absorbing features of recent paintings such as Landline Green Below or Landline Black Blue (both 2014) is the manner in which separateness and synthesis are differently allowed for in the coming together of each of the stacked horizontal stripes. In places, the layering of the paintings’ independent, uneven rectangles – as in a good deal of Scully’s art since the 1980s – involves a measure of free and fluid overlap: the colour from one section straying into the next, effecting subtle change at the margins, altering the chromatic identity and atmosphere of each coupled part. But here and there – between the bars of swirling, smeared, strenuously applied paint – Scully also leaves little glimmers of white light. At particular points – along the dividing line between the parallel planes of viridian and midnight blue in Landline Green Below, for example – these slivers of underlying, unconcealed or later-added white have the look of surf rising in the distance: a slight disturbance in the water, way out where the seadepth changes. Elsewhere, depending on how you focus your gaze or employ your imagination, they could be taken for small splashes at the shore, or little cut-offs of cloud within an otherwise clear sky. But if these tiny gaps – or grace notes – between variously turbulent and tranquil zones of strong and atmospheric colour have any evocative, representational potential, they are also – and maybe more so – important as minor incidents within the particular material and formal world of an abstract painting. They are moments of exception within a robust structure: evidence of intended imperfection, required irresolution. As such, we might value them highly as indispensable signs of delicacy and frailty within a powerful, elemental framework.

Landline Green Below, 2014 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in)

In Sean Scully’s paintings there is an ongoing – and thoroughgoing – negotiation between major and minor gestures. This agile back-and-forth – always undertaken, as Scully has said, with the dual priorities of ‘resistance and persistence’ in mind – has helped produce an energetic multiplicity of aesthetic possibilities within a consciously constrained system. Crucial to this achievement is an exacting combination of artistic deliberation and more forceful, unfettered creative dynamism. In some ways, as Arthur Danto has identified, the steady development from the former to the latter is the story of Scully’s career. Discussing a 1979

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work called Catherine (a piece that led to an extended series with that name), Danto outlines the significant achievements of the early, formally ‘defensive’ and decision-based paintings, while also celebrating Scully’s eventual liberation from this rigorously predetermining style: There are reasons for everything the painting involves – colour, stripes, ornamentation, shape (which is square), scale, surface quality, touch, sharpness. He had not as yet evolved the signature style of his mature work, with wide bands and vibrant edges and beautiful painting strokes and inserts in which the stripes will sometimes go at right angles to those of the containing work, and have a different colour and carry a different meaning. Rather, Scully was involved in work of a certain spare elegance, so conceived and executed as, in his works, to ‘take the hand out’ whereas in the later work everything is done to keep the hand in.5 An important point to add, of course, is that the tensions arising from this long process of development and discovery remain palpable within Scully’s present practice of painting. (Sensing these abiding tensions, Danto notes how ‘Scully has been a resolute abstractionist for the better part of his career [but] in no sense a formalist’ – and he finds in Scully’s art a recognition that ‘life is defined by uncertainty and risk, but also by a kind of unity which settles over it and gives it a certain shape’.6 ) From stripe to stripe, from one ‘block of the world’ to another, we encounter fast and slow shifts that signal the recursive inevitability and instability of fundamental polarities – between structure and freedom, between mind and body, maybe even between left-brain and right-brain. Each arrangement of shapes, each sequence of determinedly ‘hand-in’ strokes, thus displays differently inflected dimensions of Scully’s artistic personality. As the early twentieth-century American painter and teacher Robert Henri once wrote, ‘the stroke is just like the artist at the time he makes it. All the certainties, all the uncertainties, all the bigness of his spirit and all the littlenesses are in it.’ 7 Whether addressing bigness, littleness, or the ‘soft uncertain space between them’, Scully’s vigorously multifarious strokes demonstrate either the careful work of adhering to planned restrictions – indeed of defining those restrictions, of setting formal limits – or they show persistent, personal ‘resistance’ to such geometric constraint. Commenting on the way that certain lines by Robert

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5. Arthur Danto, ‘Sean Scully’s Catherine Paintings: The Aesthetics of Sequence’, in Danto on Scully (Ostfildern: Hatje Cantz, 2015), p. 24. 6. Ibid., p. 34. 7. Robert Henri, ‘The Brush Stroke’, in The Art Spirit (Cambridge MA: Basic Books, 2007; first published 1923).

Lowell had a unique ability to ‘set the waves of suggestion rippling’, Seamus Heaney emphasised how ‘a sense of something utterly completed vied with a sense of something startled into scope and freedom’.8 (Heaney quotes the tormented poem ‘Man and Wife’: ‘your old-fashioned tirade – / loving, rapid, merciless – / breaks like the Atlantic Ocean on my head’.9 ) In Lowell’s writing, Heaney says, ‘we are permitted the sensation of a whole meaning simultaneously clicking shut and breaking open’.10 Such a neatly doubled-edged encapsulation – at once perfectly condensed and elegantly expansive – offers a useful point of correspondence as we register our unsettled response to the resonant dualities of Scully’s paintings. Why might we be unsettled by Sean Scully’s work? His paintings are surely engaged, after all, in a consistent and diversely realised process of settling. In the Landline works we see Scully’s sui generis, steady-eyed talent for producing formally settled – which is to say coherent and ‘utterly completed’ – layers of alluring, complex colour. Consider the intense, contemplative harmony of Landline Black Line (2014): an ocean-deep channel of concentrated black, bordered above and below by beautifully variegated blues. Strong forces stir within the painting, but it might well be apprehended as a meaningfully settled, if melancholy, encounter with the world. Indeed, returning our minds to the beach, and to the elemental meeting of land and sea, we might also think of how Scully’s work settles into these landscapes – separating themselves from the distractions of everyday experience and finding the means to focus on core elements of the visual world. He is, in a profound sense, at home in these places. But the achieved stillness, acceptance, and control that are vital to Landline Black Line – and even to other, temperamentally more extreme paintings such as the remarkable Landline Red Red (also 2014; p. 158), with its suggestions of a flaming apocalyptic sunset – has as its counterpart an inevitable artistic agitation, deriving from the determination to see and see again. Scully has an evident need to unsettle any easy, customary, already-anticipated way of seeing. In every instant the potential for seeing and sensing in response to ‘the blocks of the world’ becomes different. Landline Red Red, for example, unsettles as much as it seduces through the force of its scorching scarlet and crimson shades. But if the alignment of layers draws, as elsewhere, on a shifting topography of land, sea, and sky, it is a combination of these ‘blocks’ that offers no certainty about the relationship between, as Scully says, ‘their weight and their air’. We can have no straightforward, homely

Landline Black Line, 2014 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in)

8. Seamus Heaney, ‘Lowell’s Command’, in The Government of the Tongue (London: Faber & Faber, 1988), p. 131. 9. Robert Lowell, A Selection (London: Faber & Faber, 1974), pp. 72–73. 10. Ibid.

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Landline Red Red, 2014 Oil on linen 215.9 × 190.5 cm (85 × 75 in) 158

relation to the world as arranged and represented here. In this regard, finally wondering about the unpredictable ways that internal forces are ‘felt’ in such Scully paintings, I am reminded in passing of a two-line micro-story called ‘Insomnia’ by the American writer Lydia Davis: ‘My body aches so – / It must be this heavy bed pressing up against me.’ 11 Scully’s side-by-side, stack-upon-stack, endlessly beginning and ending process of piecing the world together comes to us again and again in alternative alliances and amalgamations. He maintains consistent, assiduous dedication to fundamental forms; and yet the paintings are as unforeseeable as ‘waves coming forward without cessation’: forever settling and unsettling, repeating and renewing.

11. Lydia Davis, ‘Insomnia’, in The Collected Stories of Lydia Davis (London: Penguin Books, 2009), p. 636.

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Landline River, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 162

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Landline Deep Veined, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 164

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Landline Breath, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 166

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Landline Curve, 2016 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 168

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Untitled (Landline), 2015 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 170

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Landline Burgundy, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 172

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Landline Strand, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 174

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Landline Edge, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 178

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Landline Azure, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 180

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Landline Magenta, 2016 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 182

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Landline Pale Dark, 2015 Oil on linen 215.9 × 190.5 cm (85 × 75 in) 186

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Landline Crimson, 2015 Oil on linen 215.9 × 190.5 cm (85 × 75 in) 188

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Oisin Sea Green, 2016 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) 190

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Landline Pink, 2016 Oil on copper 71.1 × 71.1 cm (28 × 28 in) 196

Landline Black, 2010 Oil on linen 80.9 × 60.5 cm (31 ⅞ × 23 ¾ in)

Landline Pale Blue 8.06, 2006 Oil on linen 80.5 × 60.5 cm (31 ¾ × 23 ¾ in) 197

Landline Dark, 2013 Oil on linen 81.3 × 71.1 cm (32 × 28 in) 198

Landline Sand, 2003 Oil on linen 81.3 × 61 cm (32 × 24 in)

Colored Landline, 2003 Oil on linen 81.3 × 61 cm (32 × 24 in) 199

Landline Blue, 2014 Aquatint, spitbite, and sugarlift on paper 55.9 × 43.2 cm (22 × 17 in) 204

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Landline Ochre, 2016 Aquatint on paper 71.1 × 53.3 cm (28 × 21 in) 206

Landline Blue Black, 2016 Aquatint on paper 71.1 × 53.3 cm (28 × 21 in) 207

Landline Red, 2015 Aquatint, spitbite, and sugarlift on paper 55.9 × 43.2 cm (22 × 17 in) 208

Landline Grey, 2014 Aquatint, spitbite, and sugarlift on paper 55.9 × 43.2 cm (22 × 17 in) 209

Landline 5.15.15, 2015 Watercolour on paper 76.2 × 56.4 cm (30 × 22 ¼ in) 210

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Land Land, 2016 Watercolour and graphite on paper 55.9 × 76.2 cm (22 × 30 in) 212

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Manhattan Shut, 2014 C-prints mounted on Alu-Dibond behind Plexiglas 10 prints 203.2 × 127 cm (80 × 50 in) each 216

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Appendices

226

Solo Exhibitions

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Selected Group Exhibitions

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Site-specific Work

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Public Collections

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Awards and Fellowships

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Solo Exhibitions (c) Denotes accompanying catalogue 2019

Sean Scully: Resistance and Persistence. Paintings 1967–2015. Hubei Museum of Art, Wuhan, China (c)

Sean Scully. Figure / Abstract, Kunsthalle Rostock, Rostock, Germany; Crawford Art Gallery, Cork, Ireland (c)

Sean Scully, Lechner Museum, Ingolstadt, Germany

2016

Sean Scully. Landline, Cheim & Read, New York, NY, USA

Sean Scully, Albertina, Vienna, Austria Vita Duplex, LWL-Museum for Art and Culture, Münster, Germany (c) Sean Scully, National Gallery of Art, London, UK Sean Scully. Landline, The Wadsworth Atheneum, Hartford, CT, USA (c) 2018 Sean Scully, Kerlin Gallery, Dublin, Ireland Sean Scully, Blain|Southern, London, UK Sean Scully. Landline, Hirshhorn Museum & Sculpture Garden, Washington DC, USA Inside Outside, Yorkshire Sculpture Park, Wakefield, UK Matisse–Sean Scully, Kewenig Galerie, Berlin, Germany Sean Scully: Landlines and other recent works, De Pont Museum of Contemporary Art, Tilburg, Netherlands (c)

Sean Scully: Horizon, Timothy Taylor, London, UK (c) Sean Scully. Metal, Galerie Lelong, Paris, France (c) Sean Scully: Book, Garrison Art Center, Garrison, NY, USA Sean Scully: The Eighties, Mnuchin Gallery, New York, NY, USA (c) Sean Scully. The Body and the Frame, Dům Umění České Budějovice, House of Art, Budweis, Czech Republic

2015

Sean Scully: No Words, Edward Hopper House, Nyack, NY, USA

Sean Scully. Different Places, Château La Coste, Le Puy-Sainte-Réparade, France (c)

Sean Scully, Mnuchin Gallery, New York, NY, USA (c)

Sean Scully. Santa Cecilia de Montserrat, Montserrat, Spain

Facing East, The State Russian Museum – The Marble Palace, St Petersburg, Russia (c)

Sean Scully: Home, Kerlin Gallery, Dublin, Ireland (c)

Sean Scully, Cuadra San Cristóbal, Mexico City, Mexico (c)

Sean Scully, National Gallery of Ireland, Dublin, Ireland (c)

Sean Scully: 1970, Laing Art Gallery and Hatton Gallery, Newcastle upon Tyne, UK; Walker Art Gallery, Liverpool, UK (c)

Sean Scully. Land Sea, La Biennale di Venezia ‘Collateral Events’, Palazzo Falier, Venice, Italy (c)

2017

Sean Scully. Painting as an imaginative world appropriation, Museum Liaunig, Neuhaus, Austria (c)

Sean Scully: Coming and Going, Sean Scully Studio, New York, NY, USA

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Sean Scully. Kind of Red, Timothy Taylor Gallery, London, UK (c)

Sean Scully: Doric, Galerie Lelong, Paris, France (c)

Sean Scully: Four Days, Kewenig Galerie, Berlin, Germany

Sean Scully: Wall of Light Cubed, Cheim & Read, New York, NY, USA (c)

Sean Scully. Figure / Abstract, Ludwig Museum, Koblenz, Germany (c)

Sean Scully: Resistance and Persistence. Paintings 1967–2015. London and New York, Museum of the Nanjing University of the Arts, Nanjing, China; Guangdong Museum of Art, Guangzhou, China (c)

Vita Duplex, Staatliche Kunsthalle Karlsruhe, Karlsruhe, Germany (c)

Sean Scully, Lempertz, c/o Kewenig Galerie, Brussels, Belgium

Sean Scully, Galerie Klüser & Galerie Klüser 2, Munich, Germany

Sean Scully. A New Master Among Old Masters, Christ Church Gallery, Oxford, UK (c)

Sean Scully: Standing on the Edge of the World, Hong Kong Art Centre, Hong Kong, China

Before New York, Sean Scully Studio, Berlin, Germany

Follow the Heart: The Art of Sean Scully, 1964– 2014, London, New York, Shanghai Himalayas Museum, Shanghai, China (c)

Sean Scully: Circa 70, Cheim & Read, Ridgewood, Queens, NY, USA

Sean Scully: Etchings for Federico García Lorca, Cincinnati Art Museum, Cincinnati, OH, USA

Facing East, Multimedia Art Museum, Moscow, Russia (c)

2014

Sean Scully: Estampe, Galerie Simon Blais, Montreal, Canada Sean Scully. Moving or Profound or Necessary or Beautiful, 1974–2015, Pinacoteca do Estado, São Paulo, Brazil (c) Follow the Heart: The Art of Sean Scully, 1964– 2014, London, New York, Central Academy of Fine Art (CAFA), Beijing, China (c)

2013 Sean Scully. Triptychs, Pallant House Gallery, Chichester, West Sussex, UK (c) Sean Scully. Night and Day, Cheim & Read, New York, NY, USA (c) Sean Scully: Doric, Dublin City Gallery The Hugh Lane, Dublin, Ireland; Mougins Museum of Classical Art, Mougins, France (c) Sean Scully: Die Radierungen / The Etchings, Galarie Boisserée, Cologne, France Sean Scully: Passages / Impressions / Surfaces, Henry Art Gallery, University of Washington, Seattle, WA, USA Sean Scully: Change and Horizontals, Walter Storms Galerie, Munich, Germany; Galleria Nazionale d’Arte Moderna, Rome, Italy; The Drawing Center, New York, NY, USA (c) 2012 Sean Scully, The Evocative Capacity of Painting, Wooson Gallery, Daegu, South Korea (c) Sean Scully, The Verey Gallery, Eton College, Windsor, UK Notations: Sean Scully, Alter Gallery, Philadelphia Museum of Art, Philadelphia, PA, USA Sean Scully: Doric, Benaki Museum of Art, Athens, Greece; Institut Valencià d’Art Modern (IVAM), Valencia, Spain (c) Sean Scully: Luz del Sur, Alhambra – Palacio Carlos V, Granada, Spain (c)

Sean Scully. Grey Wolf – A Retrospective, Kunstmuseum Bern, Bern, Switzerland; Lentos Kunstmuseum, Linz, Austria (c) Sean Scully: Change and Horizontals, Timothy Taylor Gallery, London, UK; Middlesbrough Institute of Modern Art (MIMA), Middlesbrough, UK Sean Scully: Works on Paper / Wall of Light Red Shade, Smith Gallery, Davidson College, Davidson, NC, USA 2011 Sean Scully Paintings and Watercolors, Chazen Museum of Art, University of Wisconsin– Madison, Madison, WI, USA (c) Sean Scully. Cut Ground, Kerlin Gallery, Dublin, Ireland (c) Sean Scully: Etchings & Works on Paper, Rabley Contemporary Drawing Centre, Wiltshire, UK Sean Scully. Works on Paper, Luther W. Brady Art Gallery, George Washington University, Washington DC, USA (c)

Konstantinopel oder die versteckte Sinnlichkeit. Die Bilderwelt von Sean Scully (Constantinople or the Sensual Concealed. The imagery of Sean Scully), MKM Museum Küppersmühle für Moderne Kunst, Duisburg, Germany; Ulster Museum, Belfast, Northern Ireland, UK Sean Scully. Paintings from the 80s, Timothy Taylor Gallery, London, UK 2008 Sean Scully, Galeria Carles Taché, Barcelona, Spain (c) Sean Scully. La surface peinte, Galerie Lelong, Paris, France (c) Sean Scully. A Retrospective, Musee d’art Moderne, St Etienne, France; MACRO al Mattatoio, Rome, Italy (c) Sean Scully: The Art of the Stripe, Hood Museum of Art, Dartmouth College, Hanover, NH, USA (c)

Sean Scully: Works from the 1980s, WilhelmHack Museum, Ludwigshafen, Germany (c)

The Prints of Sean Scully, Naples Museum of Art, Naples, FL, USA; Minneapolis Institute of Arts, Minneapolis, MN, USA; Hyde Collection, Glens Falls, NY, USA

2010

2007

Sean Scully: Liliane, Alexander and Bonin, New York, NY, USA Die Bilderwelt von Sean Scully, Kunstsammlungen Chemnitz, Chemnitz, Germany Sean Scully: New York, Timothy Taylor Gallery, London, UK Sean Scully: Iona, Ingleby Gallery, Edinburgh, Scotland, UK (c) Sean Scully: Works from the Modern Art Museum of Fort Worth, The Old Jail Art Center, Albany, TX, USA (c) Sean Scully: Works from the 1980s, VISUAL – Centre for Contemporary Art, Carlow, Ireland; Leeds Art Gallery, Leeds, UK (c) 2009 Sean Scully. Recent Paintings, Galerie Lelong, New York, NY, USA (c) Sean Scully. Emotion and Structure, House of Fine Arts / Modern Gallery – László Vass Collection, Veszprém, Hungary (c) Sean Scully. Recent Works, Walter Storms Galerie, Munich, Germany

Sean Scully: Photographien Und Graphik, Galerie Klüser, Munich, Germany The Prints of Sean Scully, The Baker Museum, Naples Museum of Art, Naples, FL, USA Sean Scully. New Painting, Galerie Jamileh Weber, Zürich, Switzerland The Prints of Sean Scully, Smithsonian American Art Museum, Washington DC, USA Sean Scully. Walls of Aran, Ingleby Gallery, Edinburgh, Scotland, UK (c) Sean Scully. Aran Islands. A Portfolio of Photographs, Galerie Lelong, New York, NY, USA (c) Sean Scully. Walls of Aran, Kerlin Gallery, Dublin, Ireland (c) Sean Scully. A Retrospective, MIRO Foundation, Barcelona, Spain (c) Sean Scully: Dedicado a Federico García Lorca, Instituto Cervantes Dublin, Dublin, Ireland 2006 Sean Scully, Scottish National Gallery of Modern Art, Edinburgh, Scotland, UK Sean Scully, Timothy Taylor Gallery, London, UK (c)

Sean Scully. Recent Paintings, L.A. Louver Gallery, Venice, CA, USA (c) Sean Scully, Bibliothèque Nationale de France, Paris, France Sean Scully. Die Architektur der Farbe / The Architecture of Color, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein (c) Sean Scully: Wall of Light, Modern Art Museum of Fort Worth, Fort Worth, TX, USA; Cincinnati Art Museum, Cincinnati, OH, USA; The Metropolitan Museum of Art, New York, NY, USA (c) 2005 Sean Scully: Wall of Light, The Phillips Collection, Washington DC, USA (c) Sean Scully. para García Lorca, Sala de Exposiciones Acala 31, Madrid, Spain (c) Sean Scully. Photographs, Galeria Carles Taché, Barcelona, Spain (c) Sean Scully, Ingleby Gallery, Edinburgh, Scotland, UK (c) Mirrors 1982–2004 prints, editions & photographs, La Louviere Museum, La Louviere, Belgium Sean Scully. New Work, Galerie Lelong, New York, NY, USA Sean Scully. Malerie: kleine Formate, Staatliche Museen Kassel, Neue Galerie, Kassel, Germany (c) Sean Scully. Paintings and Works on Paper, Abbot Hall Art Gallery at Lakeland Artists Trust, Kendal, UK (c) Sean Scully. Graphic Works, Fenton Gallery, Cork, Ireland Faith Hope Love, Augustinerkloster, Erfurt, Germany 2004 Sean Scully Photographs, Anne Reed Gallery, Ketchum, ID, USA Sean Scully: body of light, National Gallery of Australia, Canberra, Australia (c) Sean Scully, Sala de Exposiciones Caja España-Duero, Salamanca, Spain Holly Series, Kunstverein Aichach, Aichach, Germany Sean Scully. Winter Robe, Galerie Lelong, Paris, France (c) Sean Scully. Estampes 1983–2003, Centre Culturel Irlandais, Paris, France

227

Sean Scully, Etchings for Federico García Lorca, Huerta de San Vicente, Casa – Museo Federico García Lorca Foundation, Granada, Spain (c)

2001

Sean Scully, Kerlin Gallery, Dublin, Ireland (c) Sean Scully. New Paintings, South London Gallery, London, UK (c)

Tigres en el jardin. Jose Guerrero & Sean Scully, Centro Jose Guerrero, Granada, Spain (c)

Sean Scully. Wall of Light, Museo De Arte Contemporáneo De Monterrey, Monterrey, Mexico (c) Sean Scully, Musée Jenisch, Vevey, Switzerland

Sean Scully: Paintings from the 70s, Timothy Taylor Gallery, London, UK Sean Scully, Kerlin Gallery, Dublin, Ireland

Sean Scully: Walls, Windows, Horizons, David Winton Bell Gallery, List Art Center, Brown University, Providence, RI, USA

Sean Scully. Fotografias, Galeria Estiarte, Madrid, Spain

Sean Scully: Light to Dark, Galerie Lelong, Paris, France (c)

Sean Scully. España–Spain–Spanien, Stadtmuseum Weimar, Kunsthalle Harry Graf Kessler, Weimar, Germany

Sean Scully, Ingleby Gallery, Edinburgh, Scotland, UK

Sean Scully. Photographs, Galerie Bernd Klüser, Munich, Germany

Sean Scully: Galerie Dittmar, Berlin, Germany

Sean Scully. Works 1990–2003, Neues Museum Weimar, Weimar, Germany (c) Sean Scully: Serge Sorokko Gallery, San Francisco, CA, USA 2003 Sean Scully. Prints and Photographs, Alexander and Bonin Gallery, New York, NY, USA Sean Scully. Photographs, L.A. Louver Gallery, Venice, CA, USA Sean Scully. Photographs, Galerie Jamileh Weber, Zürich, Switzerland Sean Scully. Works 1990–2003, Sara Hilden Art Museum, Tampere, Finland (c) Sean Scully: Wall of Light, Figures, Timothy Taylor Gallery, London, UK (c) Sean Scully, Galeria Carles Taché, Barcelona, Spain (c) Sean Scully, Hôtel des Arts, Toulon, France (c) 2002 Sean Scully, L.A. Louver Gallery, Venice, CA, USA Sean Scully. Wall of Light, Centro de Arte Hélio Oiticica, Rio de Janeiro, Brazil (c) Sean Scully, Galerie Neue Meister, Staatliche Kunstsammlungen Dresden, Dresden, Germany (c) Sean Scully. Wall of Light, Museo de Arte Moderno, Mexico City, Mexico Sean Scully: Institute Valencià d’Art Modern (IVAM), Valencia, Spain Sean Scully, Camara de Comercio, Industria Y Navegacion de Cantabria, Santander, Spain; Ayuntamiento de Pamplona, Polvorin de la Cindadela, Pamplona, Spain (c)

228

Sean Scully: Galerie Klüser, Munich, Germany Sean Scully. Paintings Pastels Watercolors Photographs 1990–2000, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany; Haus der Kunst, Munich, Germany; Institut Valencià d’Art Modern (IVAM), Valencia, Spain (c) Sean Scully. New Works on Paper, Galerie Lelong, New York, NY, USA Sean Scully. Light + Gravity: Recent Wall of Light Paintings, Knoedler & Company, New York, NY, USA (c) Sean Scully Work on Paper, Rex Irwin Gallery, Sydney, Australia; Dickerson Gallery, Melbourne, Australia Barcelona Etchings for Federico García Lorca, Instituto Cervantes, London, UK 2000 Sean Scully. Estampes 1983–1999, Musée des Beaux-Arts de Caen, Caen, France (c) Sean Scully. Photographies, Galerie de l’ancien college, Ecole municipale d’Arts plastiques, Chatellerault, France Sean Scully, Galeria Carles Taché, Barcelona, Spain (c) Sean Scully. Graphics, A+A Galleria D’Arte, Venice, Italy Sean Scully. Prints. 1994–1998, Alan Cristea Gallery, London, UK Sean Scully on Paper, The Metropolitan Museum of Art, New York, NY, USA Sean Scully. Works on Paper 1984–1996, Albright-Knox Art Gallery, Buffalo, NY, USA 1999 Sean Scully. Ten Barcelona Paintings, Galerie Bernd Klüser, Munich, Germany (c)

Sean Scully New Paintings and Works on Paper, Danese Gallery, New York, NY, USA; Galerie Lelong, New York, NY, USA (c) Sean Scully. Prints 1968–1999, Grafische Sammlung Albertina, Vienna, Austria; Musée du Dessin et de l’Estampe Originale, Gravelines, Gravelines, France Sean Scully. Monotypes and Color Woodcuts 1987–1993 from the Garner Tullis Workshop, New York, Galerie Kornfeld, Zürich, Switzerland Sean Scully, Galerie Lelong Paris, Paris, France (c) 1998 Sean Scully. Pastels, Watercolors, Prints and Photos, Galerie Le Triangle Blue Art Contemporain, Stavelot, Belgium Sean Scully, Galeria Antonia Puyo, Zaragoza, Spain (c) Sean Scully. New Paintings and Works on Paper, Galleri Weinberger, Copenhagen, Denmark Sean Scully. Mirror Images. Paintings & Works on Paper, Timothy Taylor Gallery, London, UK Sean Scully, BAWAG Foundation, Vienna, Austria (c) Sean Scully. Works on Paper 1984–1996, Milwaukee Art Museum, Milwaukee, WI, USA; Denver Art Museum, Denver, CO, USA; Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, USA (c) Sean Scully. Seven Mirrors, Harris and Lewis Stacks, Mira Godard Gallery, Toronto, Canada Sean Scully. Paintings and Works on Paper, Galerie Bernd Klüser, Munich, Germany (c) Sean Scully, Galerie Haas & Fuchs, Berlin, Germany 1997 Sean Scully. Prints and Watercolors, John Berggruen Gallery, San Francisco, CA, USA Sean Scully. Paintings & Works on Paper, Galerie Jamileh Weber, Zürich, Switzerland Sean Scully. Obra Reciente: Pinturas, Acuarelas, Pasteles y Obra Grafica, Galeria DV, San Sebastian, Spain (c) Sean Scully. Floating Paintings and Photographs, Galerie Lelong, New York, NY, USA Sean Scully, Mary Boone Gallery, New York, NY, USA

Sean Scully 1982–1996, Manchester City Art Gallery, Manchester, UK; Whitworth Art Gallery, Manchester, UK (c)

1995

Sean Scully, Kerlin Gallery, Dublin, Ireland

Sean Scully, Mary Boone Gallery, New York, NY, USA

Sean Scully. Recent Paintings, Galerie Lelong, Paris, France (c) Sean Scully. Works on Paper 1975–1996, HenieOnstad Kunstsenter, Hövikodden, Norway; Whitworth Art Gallery, Manchester, UK; The Hugh Lane Municipal Gallery of Art, Dublin, Ireland (c) Sean Scully 1989–1997, La Sala de Exposiciones REKALDE, Bilbao, Spain; Salas del Palacio Episcopal, Plaza del Obispo, Malaga, Spain; Fundacio ‘la Caixa’, Palma de Mallorca, Spain (c) Sean Scully. Paintings and Works on Paper, Neue Galerie der Stadt Linz, Linz, Austria; Culturgest, Lisbon, Portugal (c) Sean Scully. Seven Unions, Timothy Taylor Gallery, London, UK 1996 Sean Scully. Works on Paper 1984–1996, Herning Kunstmuseum, Herning, Denmark Sean Scully. Works on Paper 1975–1996, Staatliche Graphische Sammlung, Neue Pinakothek, Munich, Germany; Museum Folkwang Essen, Essen, Germany (c)

Sean Scully. The Beauty of the Real, Galerie Bernd Klüser, Munich, Germany

Sean Scully. The Catherine Paintings, Kunsthalle Bielefeld, Bielefeld, Germany; Palais des Beaux-Arts, Charleroi, Belgium (c) Sean Scully: Twenty Years, 1976–1995, Hirshhorn Museum and Sculpture Garden, Washington DC, USA; High Museum of Art, Atlanta, GA, USA (c) Sean Scully, Waddington Galleries, London, UK (c) Galeria De L’Ancien College, Châtellerault, France (c) 1994

Sean Scully: Twenty Years, 1976–1995, Fundacio ‘la Caixa’, Centre Cultural, Barcelona, Spain; Irish Museum of Modern Art, Dublin, Ireland; Schirn Kunsthalle Frankfurt, Frankfurt am Main, Germany (c) Sean Scully. Obra Gráfica Reciente, Edicions T Galeria D’Art, Barcelona, Spain

Sean Scully. Prints, M. Art, Tokyo, Japan

Sean Scully, Kerlin Gallery, Dublin, Ireland Sean Scully. Paintings, Butler Gallery, Kilkenny Castle, Kilkenny, Ireland Sean Scully. Works on Paper, Knoedler & Company, New York, NY, USA

1993

Sean Scully, The Catherine Paintings (1979–1995) & Watercolours, Casino Luxembourg, Forum d’art contemporain, Luxembourg

Sean Scully. New Graphic Works, Weinberger Gallery, Copenhagen, Denmark

Sean Scully. La forma e lo spirito / The Form and the Spirit, Galleria Gian Ferrari Arte Contemporanea, Milan, Italy (c)

Sean Scully. New Pastels, Galerie Lelong, New York, NY, USA

Sean Scully. Paintings and Works on Paper, Galerie nationale du Jeu de Paume, Paris, France (c)

Sean Scully. New Prints, Bobbie Greenfield Fine Art, Inc., Venice, CA, USA

Sean Scully. Obra gráfica 1991–1994, Galeria DV, San Sebastian, Spain (c)

Sean Scully. The Light in the Darkness, Fuji Television Gallery, Tokyo, Japan (c)

Sean Scully, Galleria d’Arte Moderna–Villa Delle Rose, Bologna, Italy

Sean Scully. Woodcuts, Pamela Auchincloss Gallery, New York, NY, USA

Sean Scully. Monotypes from the Garner Tullis Workshop, Pamela Auchincloss Gallery, New York, NY, USA (c)

Sean Scully. Graphische Arbeiten, Galerie Angelika Harthan, Stuttgart, Germany (c)

Sean Scully, Galeria Carles Taché, Barcelona, Spain (c)

Sean Scully. Prints and Related Works, Brooke Alexander Editions, New York, NY, USA

Sean Scully. Paintings. Works on Paper, Galerie Bernd Klüser, Munich, Germany (c) Sean Scully. Heart of Darkness, Waddington Galleries, London, UK (c) Sean Scully. The Catherine Paintings, Modern Art Museum of Fort Worth, TX, USA (c) Sean Scully, Mary Boone Gallery, New York, NY, USA 1992 Sean Scully, Waddington Galleries, London, UK (c) Sean Scully. Paintings 1973–1992, Sert Gallery, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, USA Sean Scully, Daniel Weinberg Gallery, Santa Monica, CA, USA Sean Scully. Woodcuts, Stephen Solovy Fine Art, Chicago, IL, USA

Sean Scully, Galerie de France, Paris, France (c)

1989 Sean Scully. Bilder und Zeichnungen, Galerie Karsten Greve, Cologne, Germany Sean Scully. Pastel Drawings, Grob Gallery, London, UK Sean Scully: Paintings and Works on Paper 1982–1988, Whitechapel Art Gallery, London, UK; Centro de Arte Reina Sofía – Palacio de Velazquez, Parque del Retiro, Madrid, Spain; Städtische Galerie im Lenbachhaus, Munich, Germany (c) Sean Scully. New Paintings, David McKee Gallery, New York, NY, USA (c) Sean Scully: Recent Woodcuts and Etchings, Greg Kucera Gallery, Seattle, WA, USA 1988 Sean Scully, Fuji Television Gallery, Tokyo, Japan (c) 1987 Sean Scully, The Art Institute of Chicago, Chicago, IL, USA (c) Sean Scully, Galerie Schmela, Düsseldorf, Germany (c) Sean Scully. Matrix / Berkeley 112, University Art Museum, University of California at Berkeley, Berkeley, CA, USA (c)

229

Sean Scully, Mayor Rowan Gallery, London, UK (c)

Sean Scully. Recent Paintings, Rowan Gallery, London, UK

Sean Scully. Recent Monotypes and Drawings, Flanders Contemporary Art, Minneapolis, MN, USA

Sean Scully, Susan Caldwell Inc., New York, NY, USA

Sean Scully. Monotypes, David McKee Gallery, New York, NY, USA Sean Scully. Monotypes from the Garner Tullis Workshop, Pamela Auchincloss Gallery, Santa Barbara, CA, USA (c)

1980 Sean Scully, Susan Caldwell Inc., New York, NY, USA 1979

1986

Sean Scully. Paintings 1975–1979, The Clocktower, New York, NY, USA

Sean Scully. Paintings. 1985–1986, David McKee Gallery, New York, NY, USA (c)

Sean Scully. Recent Paintings, Rowan Gallery, London, UK

1985

Painting for One Place, Nadin Gallery, New York, NY, USA

Sean Scully. Neue Arbeiten, Galerie Schmela, Düsseldorf, Germany Sean Scully, Museum of Art, Carnegie Institute, Pittsburgh, PA, USA; Museum of Fine Arts, Boston, MA, USA (c) Sean Scully. Paintings and Drawings, Barbara Krakow Gallery, Boston, MA, USA Sean Scully. New Paintings, David McKee Gallery, New York, NY, USA 1984 Sean Scully. Recent Paintings and Drawings, Juda Rowan Gallery, London, UK Sean Scully. schilderijen – tekeningen, Galerij S65, Aalst, Belgium 1983 Sean Scully, David McKee Gallery, New York, NY, USA 1982 Sean Scully. Recent Paintings, William Beadleston Inc., New York, NY, USA Sean Scully. Paintings 1971–1981, The Warwick Arts Trust, London, UK (c) 1981 Sean Scully. Recent Paintings, McIntosh / Drysdale Gallery, Washington DC, USA Sean Scully. Paintings 1971–1981, Ikon Gallery, Birmingham, UK; Ceolfrith Gallery, Sunderland Arts Centre, Sunderland, UK; The Douglas Hyde Gallery, Trinity College, Dublin, Ireland (c) Sean Scully. seven drawings, a wall painting: Spider* *to the people of Berlin – dedicated to Blinky Palermo, Museum für (Sub-) Kultur, Berlin, Germany

230

1977 Sean Scully. Paintings & Drawings, Rowan Gallery, London, UK Sean Scully, Duffy-Gibbs Gallery, New York, NY, USA 1976 Sean Scully. Works on Paper, La Tortue Gallery, Santa Monica, CA, USA 1975 Sean Scully. Recent Paintings, Rowan Gallery, London, UK Sean Scully. Paintings 1974, La Tortue Gallery, Santa Monica, CA, USA (c) 1973 Recent Paintings. Sean Scully, Rowan Gallery, London, UK 1972 Sean Scully, Bookshop Gallery, Ceolfrith Art Centre, Sunderland, UK

Selected Group Exhibitions 2018 Unexpected Encounters, The Nelson-Atkins Museum of Art, Kansas City, MO, USA Hope is Strong, Millennium Gallery, Museums Sheffield, Sheffield, UK MURS, Musée des Beaux-Arts de Caen, Caen, France Splendeurs du pastel–De la Renaissance à nos jours, Fondation de l’Hermitage, Lausanne, Switzerland 2017 Über den Umgang mit Menschen, wenn Zuneigung im Spiel ist. Sammlung Klein, Kunstmuseum Stuttgart, Stuttgart, Germany

Sean Scully + Liliane Tomasko, Centro Cultural Bancaja, Fundación Bancaja, Valencia, Spain BASQUIAT, DUBUFFET, SOULAGES … A PRIVATE COLLECTION, The Foundation Hermitage, Lausanne, Switzerland As If, at Home, Box Freiraum, Berlin, Germany Modernist Intersections: The Tia Collection, University of Arizona Museum of Art, Tucson, AZ, USA DIALOGUES. The Looser Collection. Museum Folkwang, Essen, Germany Cher(e)s Ami(e)s : Hommage aux donateurs des collections contemporaines, Centre Pompidou, Paris, France

2013 Farbiges Grau, Mies van der Rohe Haus, Berlin, Germany Marokkanische Teppiche und Die Kunst Der Moderne (Moroccan Carpets and Modern Art). Florian Hufnagl, Die Neue Sammlung – The International Design Museum, Munich, Germany 93, Centro Galego de Arte Contemporánea, A Coruña, Spain Entre Bambalinas… Arte y Moda. Institut Valencià d’Art Modern (IVAM), Valencia, Spain

2015

Window to the World: From Dürer to Mondrian and Beyond, Fondation de l’Hermitage, Lausanne, Switzerland

LOOK! New Acquisitions, Albertina, Vienna, Austria

Surface Tension, The FLAG Art Foundation, New York, NY, USA

2012

Abstract Painting Now!, Kunsthalle Krems, Krems, Austria

Testing Testing: Painting and Sculpture since 1960 from the Permanent Collection, Ackland Art Museum, The University of North Carolina at Chapel Hill, Chapel Hill, NC, USA

Against Landscape, Glasgow School of Art, Glasgow, Scotland, UK beide | both, (two-person exhibition with Liliane Tomasko), Kunstwerk–Sammlung Alison and Peter W. Klein, EberdingenNussdorf, Germany Restless Gestures. Works from the Hubert Looser Collection, The National Gallery, National Museum of Norway, Olso, Norway Summer Exhibition, Royal Academy of Arts, London, UK Art contemporani (1984–2010), Centro Cultural Bancaja, Fundación Bancaja, Spain The Power of the Avant-garde, The Feliks Jasienski Szolayski House, National Museum, Krakow, Poland International Ireland, Ulster Museum, Belfast, Northern Ireland, UK 2016 Kirchner, Léger, Scully & more Works from the Collection, Hilti Art Foundation, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein

The Patton Collection, A Gift to North Carolina, North Carolina Museum of Art, Raleigh, NC, USA

‘Chemin faisant …’, Musee jurassien des Arts, Moutier, Switzerland Abstract Drawings, Smithsonian American Art Museum, Washington DC, USA

Ein Moment-ewig, Sammlung Alison and Peter W. Klein, Eberdingen-Nussdorf, Germany

Bremerhaven–Berlin–Aichach: 35 artworks from 3 places and 37 years, Zweigstelle Berlin, Germany

2014

2011

The Phillips Collection: Picasso and Great Artists, The Daejeon Museum of Art, Daejeon, South Korea; The Seoul Arts Center, Seoul, South Korea

Multiplicity, Smithsonian American Art Museum, Washington DC, USA

Contemporary Art: Selections from the Museum’s Collection, The Museum of Fine Arts, Houston, Houston, TX, USA

The Indiscipline of Painting: International abstraction from the 1960s to now, Tate St Ives, St Ives, Cornwall, UK; Mead Gallery, Warwick Arts Centre, Coventry, UK

Couleurs Contemporaines, Centre D’Art de Chateauvert, Chateauvert, France

Body and Soul: Lawrence Carroll, Gotthard Graubner, Sean Scully, Hôtel des Arts, Toulon, France

The Artist’s Eye, Hunt Museum, Limerick, Ireland

Planos Sensibles, Museo de Arte Contemporáneo, Alicante, Spain

The Klüser Collection: Back to the Future. Drawings from Tiepolo to Warhol, Kunsthalle Krems, Krems, Austria

Gravity, Crawford Art Gallery, Cork, Ireland

Night in the Museum: Ryan Gander curates the Arts Council Collection, Birmingham Museum & Art Gallery, Birmingham, UK

Post-Picasso. Reaccions contemporaneas (PostPicasso: Contemporary Reactions), Museo Picasso, Barcelona, Spain

Wir sind was wir sammeln (We Are What We Collect), Museum Lothar Fischer, Neumarkt in der Oberpfalz, Germany

Encounter: Royal Academy of Arts in China, Yuan Museum, Beijing, China

The Power of the Avant-garde, Centre for Fine Arts, Palais des Beaux-Arts, Paleis voor Schone Kunsten, Brussels, Belgium

Window to the World: From Dürer to Mondrian and Beyond, Museo Cantonale d’Arte and Museo d’Arte, Lugano, Switzerland

Record’Art, Cadaques Church, Girona, Spain

Eroi / Heroes, Galleria Civica D’Arte Moderna e Contemporanea, Torino, Italy The Cincinnati Art Award: Gifts and Warhol Portraits of Doug Cramer, Cincinnati Art Museum, Cincinnati, OH, USA Zettels Traum: Die Zeichnungssammlung Bern und Verena Klüser, Von Der Heydt—Museum, Wuppertal, Germany The Shadow of the Corner of the Wall. Liliane Tomasko and Sean Scully, Das Haus am Lützowplatz, Berlin, Germany

231

2010 The Moderns: The Arts in Ireland from the 1900s to the 1970s, Irish Museum of Modern Art, Dublin, Ireland Hugh Lane Centenary Print Collection, Linenhall Arts Centre, Castlebar, Ireland Decameron, New York Studio School, New York, NY, USA Calder to Warhol: Introducing the Fisher Collection, San Francisco Museum of Modern Art, San Francisco, CA, USA Living With Art: Collecting Contemporary in Metro New York, Neuberger Museum of Art, Purchase, NY, USA More Photographs Than Bricks, Luther W. Brady Art Gallery / George Washington University, Washington DC, USA From Homer to Hopper: American Watercolor Masterworks from the Currier Museum of Art, Currier Museum of Art, Manchester, NH, USA

Drei. Das Triptychon in der Moderne, Kunstmuseum Stuttgart, Stuttgart, Germany

Themes and Variations in Painting and Sculpture, Museum of Fine Arts, Houston, TX, USA

Building with Colour, Gallery North, Northumbria University, Newcastle upon Tyne, UK

Collecting the Past, Present, Future – Highlights of British Art from Turner to Freud, Abbot Hall Art Gallery, Kendal, UK

Kunstwerke aus der UBS Art Collection im Opern Turm Frankfurt, Der Opern Turm, Frankfurt, Germany

Große Malerei, Lentos Kunstmuseum Linz, Linz, Austria

2008 Color into Light, Museum of Fine Arts, Houston, TX, USA Made in Munich, Haus der Kunst, Munich, Germany Hugh Lane Centenary Print Collection, Dublin City Gallery The Hugh Lane, Dublin, Ireland The 183rd Annual: An Invitational Exhibition of Contemporary American Art, National Academy Museum & School of Fine Arts, New York, NY, USA

17 Malern, Bayerische Akademie der Schönon Künste, Munich, Germany

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

2009

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

The Weight of Light, VISUAL Centre for Contemporary Art, Carlow, Ireland Passports, Whitechapel Gallery, London, UK; Padiglione d’Arte Contemporanea, Milan, Italy IN-FINITUM, 53rd Venice Biennale, Palazzo Fortuny, Venice, Italy Historias del Confin, Institut Valencià d’Art Modern (IVAM), Valencia, Spain Markierungen, Sean Scully & Jannis Kounellis, 401 Contemporary, Berlin, Germany 1999 / 2009, Regard Sur La Collection Du Conseil Général Du Var, Hôtel des Arts, Toulon, France Shaping Reality: Geometric Abstraction after 1960, Minneapolis Institute of Arts, Minneapolis, MN, USA Pop to Present, Pigott Family Gallery, Iris & B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA, USA Second Biennial of the Canary Islands, Centro Atlantico de Arte Moderno – Los Balcones 11 y 13, Las Palmas De Gran Canaria, Spain Regards Croises: Les oeuvres de la BEI à la BCEE, Galerie d’art contemporain – Am Tunnel & Espace Edward Steichen, Luxembourg

232

Unique Act: Five Abstract Painters, Dublin City Gallery The Hugh Lane, Dublin, Ireland Monet–Kandinsky–Rothko und die folgen Wege der abstrakten Malerei, BA-CA Kunstforum Wien, Palais Ferstel, Vienna, Austria New Horizons: the Collection of the Ishibashi Foundation, Bridgestone Museum of Art, Ishibashi Foundation, Tokyo, Japan Degas to Diebenkorn: The Phillips Collects, The Phillips Collection, Washington DC, USA MAXImin, Maximum Minimization in Contemporary Art, Fundacion Juan March, Madrid, Spain

Before and After Minimalism: A Century of Abstract Tendencies in the DaimlerChrysler Collection, Museu d’Art Espanyol Contemporani Fundacion Juan March, Palma de Mallorca, Spain (I’m Always Touched) By Your Presence, Dear: New Acquisitions, Irish Museum of Modern Art, Dublin, Ireland Samuel Beckett, Centre Pompidou, Paris, France Radharc, Galway Arts Centre, Galway, Ireland Klasse Scully, whiteBOX e.v., Kultfabrik, Munich, Germany 2006 Sammlung Essl – Kunst der Gegenwart, Kunstverein Villa Wessel, Iserlohn, Germany Big Juicy Paintings (and more): Selections from the Permanent Collection, Miami Art Museum, Miami, FL, USA The Collector’s Collection, Ormeau Baths Gallery, Belfast, Northern Ireland, UK Against the Grain, Contemporary Art from the Edward R. Broida Collection, Museum of Modern Art, New York, NY, USA Homage to Chilida, Guggenheim Museum Bilbao, Bilbao, Spain The Unknown Masterpiece, ARTIUM Centro – Museo Vasco de Arte Contemporaneo, Vitoria-Gasteiz, Spain

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

Nomaden im Kunstsalon – Begegnungen mit der Moderne von Bayer bis Sol LeWitt, Lentos Kunstmuseum Linz, Linz, Austria

2007

2005

La vida privada: Coleccion Josep Civit, Centro de Arte y Naturaleza – Fundacion Beulas, Huesca, Spain

SIAR 50: 50 Years of Irish Art from the Collections of the Contemporary Irish Art Society, Irish Museum of Modern Art, Dublin, Ireland

DE-Natured. Painting, Sculpture and Work on Paper from the Anderson Collection + the Anderson Graphic Arts Collection, San Jose Museum of Art, San Jose, CA, USA

Sean Scully, Stephan Girard, Nicolas Ruel, Galerie Orange Art Contemporain, Montreal, Canada; Galerie Lacerte Art Contemporain, Québec City, Québec, Canada

Frisch Gestrichen, Museum Franz Gertsch, Burgdorf, Switzerland

Soltanto Un Quadro Al Massimo, Accademia Tedesca Roma Villa Massimo, Rome, Italy

Minimalism and After IV, Daimler Contemporary Berlin, Berlin, Germany Eye of the Storm: The IMMA Collection, Irish Museum of Modern Art, Dublin, Ireland Nueva tecnologia–nueva iconografia–nueva fotografia, Museo de Arte Abstracto Español, Cuenca, Spain The Giving Person, Fondazione Culturale Edison, Palazzo delle Arti di Napoli, Naples, Italy After The Thaw – Recent Irish Art from the AIB Collection, Crawford Municipal Art Gallery, Cork, Ireland Western Biennale of Art: Art Tomorrow, John Natsoulas Center for the Arts, Davis, CA, USA Von Paul Gauguin bis Imi Knoebel, Werke aus der Hilti Art foundation, Kunstmuseum Liechtenstein, Vaduz, Liechtenstein 2004 Iranische Flachgewebe im Spiegel der Moderne, Historisches und Völkerkundemuseum, St Gallen, Switzerland Beneath the Sky, Cavan County Museum, Ballyjamesduff, Ireland La Collection, Hôtel des Arts, Toulon, France Destination Germany, Kunst Galerie Fürth, Fürth, Germany Nueva tecnologia–nueva iconografia– nueva fotografia, Museu d’Arte Español Contemporani, Palma de Mallorca, Spain Matisse to Freud: A Critic’s Choice – The Alexander Walker Bequest, British Museum, London, UK Monocromos: De Malevich al Presente, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain Behind Closed Doors, Katonah Museum of Art, Katonah, NY, USA In the time of shaking. Irish Artists for Amnesty International, Irish Museum of Modern Art, Dublin, Ireland Views from an Island and Representing the Tain, Beijing World Art Museum, Beijing, China; Shanghai Art Museum, Shanghai, China Bearings: Landscapes from the IMMA Collection, Irish Museum of Modern Art, Dublin, Ireland High Falutin Stuff, Irish Museum of Modern Art, Dublin, Ireland Pop Art to Minimalism: The Serial Attitude, Albertina, Vienna, Austria

A Vision of Modern Art, In Memory of Dorothy Walker, Irish Museum of Modern Art, Dublin, Ireland

The Rowan Collection: Contemporary British and Irish Art, Irish Museum of Modern Art, Dublin, Ireland

Picasso to Thiebaud, Cantor Center for Visual Arts, Stanford University, Stanford, CA, USA

Profile of a Collection: The Gordon Lambert Trust Collection at IMMA, Irish Museum of Modern Art, Dublin, Ireland

Masterprints, Sundsvalls Museum, Sundsvall, Sweden 2003 Grafiikkaa ja piirustuksia, Forum Box, Helsinki, Finland Drawing Modern: Works from the Agnes Gund Collection, Cleveland Art Institute, Cleveland, OH, USA The Museum Store Collects, Arizona State University Art Museum, Nelson Fine Arts Center, Tempe, AZ, USA Avant-garde und Tradition, Lentos Kunstmuseum Linz, Linz, Austria Human Stories – Photos and Paintings from the Essl Collection, The Ludwig Museum Budapest–Museum of Contemporary Art, Budapest, Hungary Taché a Pelaires (Carroll, Cragg, Kounellis, Rousse, Scully), Pelaires Centre Cultural Contemporani, Palma de Mallorca, Spain 2002 110 Years: The Permanent Collection of the Modern Art Museum of Fort Worth, Modern Art Museum of Fort Worth, TX, USA Watercolor, New York Studio School, New York, NY, USA Colour / Concept, National Gallery of Australia, Canberra, Australia Extranjeros—Los Otros Artistas Españoles, Museo de Arte Contemporaneo Esteban Vicente, Segovia, Spain No Object, No Subject, No Matter … Abstraction in the IMMA Collection, Irish Museum of Modern Art, Dublin, Ireland 177th Annual Exhibition, National Academy of Design, New York, NY, USA Epic Paintings from the Luther W. Brady Collection, Luther W. Brady Art Gallery, George Washington University, Washington DC, USA 25 Bienal De São Paulo, Fundação Bienal De São Paulo, São Paulo, Brazil Augenblick, Foto / Kunst, Sammlung Essl, Klosterneuburg, Vienna, Austria

Watercolor: In the Abstract, Michael C. Rockefeller Arts Center, SUNY College at Fredonia, Fredonia, NY, USA; Butler Institute of American Art, Youngstown, OH, USA; Ben Shahn Gallery, William Patterson University, Wayne, NJ, USA; Sarah Moody Gallery of Art, University of Alabama, Tuscaloosa, AL, USA 2001 A Century of Drawing: Works on Paper from Degas to LeWitt, National Gallery of Art, Washington DC, USA Watercolor: In the Abstract, The Hyde Collection Art Museum, Glen Falls, NY, USA 2000 Shifting Ground. Selected Works of Irish Art 1950–2000, Irish Museum of Modern Art, Dublin, Ireland Import, Irish Museum of Modern Art, Dublin, Ireland Une Ville – Une Collection, Centre de la Gravure et de l’Image Imprimee, La Louviere, Belgium Colleccion MMKSLW: Viena, de Warhol a Cabrita Reis, Centro Galego de Arte Contemporanea, Santiago de Compostela, Spain Von Albers bis Paik: Konstruktive Werke aus der Sammlung DaimlerChrylser, Haus für Konstruktive und Konkrete Kunst, Zürich, Switzerland L’Ombra Della Ragione: L’Idea Del Sacro Nell’Identita Europa Nel XX Secolo, Galleria D’Arte Moderna Bologna, Bologna, Italy Drawing in the Present Tense, Eastern Connecticut State University, Willimantic, CT, USA; North Dakota Museum of Art, Grand Forks, ND, USA On Canvas: Contemporary Painting from the Collection, Solomon R. Guggenheim Museum, New York, NY, USA 1999 Zeitschnitt 1900–2000:100 Jahre, 100 Werke, Lentos Kunstmuseum Linz, Linz, Austria 25 Jahre / 25th Anniversary, Galerie Jamileh Weber, Zürich, Switzerland The Essl Collection: The First View, Sammlung Essl, Klosterneuburg, Vienna, Austria

233

Drawing in the Present Tense, Parsons School of Design, New York, NY, USA A Land of Heart’s Desire: 300 Years of Irish Art, Ulster Museum of Art, Belfast, Northern Ireland, UK The Art of Collecting, Flanders Contemporary Art, Minneapolis, MN, USA Geometrie als Gestalt: Strukturen der Modernen Kunst von Albers bis Paik: Werke der Sammlung DaimlerChrysler, Neue Nationalgalerie, Staatliche Museen zu Berlin, Berlin, Germany Unlocking the Grid. Concerning the Grid in Recent Painting, Main Gallery, University of Rhode Island, Kingston, RI, USA Tore A. Holm’s Collection of Contemporary European Art – An Encounter between North and South, Centro Cultural del Conde Duque, Madrid, Spain 1998 Cleveland Collects Contemporary Art, Cleveland Museum of Art, Cleveland, OH, USA Lawrence Carroll and Sean Scully, Lawing Gallery, Houston, TX, USA Sarajevo 2000, Museum Moderner Kunst Stiftung Ludwig Wein, Palais Liechtenstein, Vienna, Austria 45th Corcoran Biennial, Corcoran Gallery of Art, Washington DC, USA Arterias: Collection of Contemporary Art Fundacio la Caixa, Malmö Konsthal, Malmö, Sweden The Edward R. Broida Collection: A Selection of Works, Orlando Museum of Art, Orlando, FL, USA Zeit und Materie, Baukunst, Cologne, Germany Welcome Back!, Denver Art Museum, Denver, CO, USA Contemporary Art; The Janet Wolfson de Botton Gift, Tate Gallery, London, UK On a Clear Day, Graphische Sammlung, Staatsgalerie Stuttgart, Stuttgart, Germany Acquisitions 1997, Hôtel du Departement, Creteil, France c/o Le Conseil General du Val-de-Marne FDAC En Norsk Samling Au Europeisk Kunst, Trondheim Kunstmuseum, Trondheim, Norway

234

1997 The Pursuit of Painting, Irish Museum of Modern Art, Dublin, Ireland Thirty-Five Years at Crown Point Press: Making Prints, Doing Art, National Gallery of Art, Washington DC, USA; Fine Arts Museum of San Francisco, San Francisco, CA, USA Singular Impressions: The Monotype in America, National Museum of American Art, Washington DC, USA After the Fall: Aspects of Abstract Painting Since 1970, Newhouse Center for Contemporary Art, Snug Harbor Cultural Center, Staten Island, NY, USA Holländisches Bad: Radierungen zur Renaissance einer Technik, Brecht-Haus-Weissensee, Berlin, Germany

New York Abstract, Contemporary Arts Center, New Orleans, LA, USA US Prints, Retretti Art Center, Punkaharju, Finland 1994 An American Passion: The Susan Kasen Summer and Robert D. Summer Collection of Contemporary British Painting, McLellan Galleries, Glasgow, Scotland, UK L’Incanto e la Trascendenza, Galleria Civica de Arte Contemporanea, Trento, Italy Paper Under Pressure: Work in Collaboration with Garner Tullis, Sun Valley Center Gallery, Ketchum, ID, USA For 25 Years: Brooke Alexander Editions, Museum of Modern Art, New York, NY, USA

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; the Hokkaido Museum of Modern Art, Sapporo, Japan; Mitaka City Gallery of Art, Mitaka, Tokyo, Japan; Yamanashi Prefectural Museum of Art, Yamanashi, Japan

Contemporary Watercolors: Europe and America, University of North Texas Art Gallery, Denton, TX, USA

The View From Denver: Contemporary American Art from the Denver Art Museum, Museum Moderner Kunst Stiftung Ludwig Wein, Vienna, Austria

1993

British Arts Council Collection, Royal Festival Hall, London, UK 1996 Holländisches Bad: Radierungen zur Renaissance einer Technik, Kunsthaus Hamburg, Hamburg, Germany

Recent Painting Acquisitions, Tate Gallery, London, UK Recent Acquisitions: Paintings from the Collection, IMMA, Irish Museum of Modern Art, Dublin, Ireland

The Turner Prize 1993, Tate Gallery, London, UK New Moderns, Baumgartner Galleries Inc., Washington DC, USA 25 Years: A Retrospective, Cleveland Center for Contemporary Art, Cleveland, OH, USA Italia–America L’astrazione Redefinita, Dicastero Cultura Moderna, Repubblica di San Marino, Italy

Thinking Print: Books to Billboards 1980–95, Museum of Modern Art, New York, NY, USA

Tutte le Strade Portano A Roma, Palazzo delle Esposizioni, Rome, Italy

Nuevas Abstracciones, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; Kunsthalle Bielefeld, Bielefeld, Germany; Museu d’Art Contemporani de Barcelona, Barcelona, Spain

American and European Prints, Machida City Museum of Arts, Tokyo, Japan

Festival de Culture Irlandaise Contemporaine, Ecoles des Beaux-Arts, Paris, France XV Salon des los 16, Museo de Antropologia, Madrid, Spain 1995 An American Passion: The Susan Kasen Summer and Robert D. Summer Collection of Contemporary British Painting, Royal College of Art, London, UK

Drawing in Black and White, Museum of Modern Art, Grolier Club, New York, NY, USA

1992 Verso Bisanzio, con disincanto, Galeria Sergio Tossi, Arte Contemporanea, Prato, Italy Color Block Prints of the 20th Century, Associated American Artists, New York, NY, USA Behind Bars, Thread Waxing Space, New York, NY, USA

Geteilte Bilder: Das Diptychon in der neuen Kunst, Museum Folkwang Essen, Essen, Germany Recent Abstract Painting: Ross Bleckner, Kenneth Dingwall, Susan Laufer, Ken Nevadomi, Sean Scully, Cleveland Center for Contemporary Art, Cleveland, OH, USA 44th Annual Academy–Institute Purchase Exhibition, American Academy of Arts and Letters, New York, NY, USA

Sean Scully & Jose Maria Sicilia, New Editions, Crown Point Press, San Francisco, CA, USA New Editions, Crown Point Press, San Francisco, CA; New York, NY, USA Sightings: Drawings with Color, Pratt Manhattan Gallery, Pratt Institute, New York, NY, USA; Instituto de Estudios Norteamericanos, Barcelona, Spain 1987

Monotypes, Woodcuts, Drawings, Europaische Akademie Fur Bildende Kunst, Trier, Germany

The Fortieth Biennial Exhibition of Contemporary American Painting, Corcoran Gallery of Art, Washington DC, USA

Painted on Press: Recent Abstract Prints, Madison Art Center, Madison, WI, USA

Harvey Quaytman and Sean Scully, Ateneum, Helsinki Festival, Helsinki, Finland

Whitechapel Open, Whitechapel Art Gallery, London, UK

Drawing from the 80 – Chatsworth Collaboration, Carnegie Mellon University Art Gallery, Pittsburgh, PA, USA

1991 Collaborations in Monotype from the Garner Tullis Workshop, Sert Gallery, Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, USA Moses, Richter, Scully, Louver Gallery, New York, NY, USA Postmodern Prints, Victoria and Albert Museum, London, UK 1990 Sean Scully / Donald Sultan: Abstraction / Representation, Stanford University Art Gallery, Stanford, CA, USA 1989 The 1980s: Prints from the Collection of Joshua P. Smith, National Gallery of Art, Washington DC, USA Essential Painting: Kelly, LeWitt, Mangold, Scully, Nelson-Atkins Museum of Art, Kansas City, MO, USA The Elusive Surface: Painting in Three Dimensions, Albuquerque Museum, Albuquerque, NM, USA The Presence of Painting: Aspects of British Abstraction 1957–1988, Laing Art Gallery, Newcastle upon Tyne, UK; Hatton Gallery, Newcastle upon Tyne, UK; Ikon Gallery, Birmingham, UK; Harris Museum & Art Gallery, Preston, UK 1988 The Presence of Painting: Aspects of British Abstraction 1957–1988, Mappin Art Gallery, Sheffield, UK

Drawn-Out, Kansas City Art Institute, Kansas City, MO, USA Magic in the Mind’s Eye: Part 1 & 2, Meadow Brook Art Gallery, Rochester, MI, USA Logical Foundations, Museum of Modern Art, New York, NY, USA Winter, Museum of Modern Art, New York, NY, USA 1986 An American Renaissance in Art: Painting and Sculpture since 1940, Fort Lauderdale Museum of Fine Art, Fort Lauderdale, FL, USA After Matisse, Queens Museum, Corona, NY, USA; Chrysler Museum, Norfolk, VA, USA; Portland Museum of Art, Portland, MA, USA; Bass Museum of Art, Miami Beach, FL, USA; The Phillips Collection, Washington DC, USA; Dayton Art Institute, Dayton, OH, USA; Worcester Art Museum, Worcester, MA, USA Public and Private: American Prints Today, Brooklyn Museum of Art, Brooklyn, NY, USA CAL Collects 1, University Art Museum, University of California, Berkeley, Berkeley, CA, USA Structure / Abstraction, Hill Gallery, Birmingham, MI, USA Detroiters Collect: New Generation, Meadow Brook Art Gallery, Oakland University, Rochester, MI, USA Recent Acquisitions, Contemporary Arts Center, Honolulu, HI, USA

1985 A Decade of Visual Arts at Princeton: Faculty 1975–1985, Princeton University Museum of Art, Princeton, NJ, USA Abstract Painting as Surface and Object, Hillwood Art Gallery, C.W. Post Center, Long Island University, Brookeville, NY, USA Art on Paper, Weatherspoon Art Gallery, University of North Carolina at Greensboro, Greensboro, NC, USA 1984 An International Survey of Recent Painting and Sculpture, Museum of Modern Art, New York, NY, USA Currents #6, Milwaukee Art Museum, Milwaukee, WI, USA Small Works: New Abstract Painting, Lafayette College and Muhlenberg College, Allentown, PA, USA Hassam & Speicher Purchase Fund Exhibition, Academy of Arts and Letters, New York, NY, USA 1983 Contemporary Abstract Painting, Muhlenberg College Center for the Arts, Allentown, PA, USA American Abstract Artists, Weatherspoon Art Gallery, University of North Carolina, Greensboro, NC, USA; Moody Gallery of Art, University of Alabama, Tuscaloosa, AL, USA New Directions: Contemporary American Art from the Commodities Corporation Collection, Montgomery Museum of Fine Arts, Montgomery, AL, USA New Work New York (Newcastle Salutes New York), Newcastle Polytechnic Art Gallery, Newcastle upon Tyne, UK Student’s Choice Exhibition, Yale University Art Gallery, New Haven, CT, USA 1982 Pair Group: Current and Emerging Styles in Abstract Painting, Jersey City Museum, Jersey City, NJ, USA Critical Perspectives, P.S.1 The Institute for Art & Urban Resources, New York, NY, USA Workshop F, Chelsea School of Art, London, UK Art for a New Year, Museum of Modern Art, New York, NY, USA, c/o Art Lending Service

235

New Directions: Contemporary American Art from the Commodities Corporation Collection, Oklahoma Museum of Art, Oklahoma City, OK, USA, 1982; Santa Barbara Museum of Art, Santa Barbara, CA, USA; Grand Rapids Art Museum, Grand Rapids, MI, USA; Madison Art Center, Madison, WI, USA 1981 New Directions: Contemporary American Art from the Commodities Corporation Collection, Museum of Art, Fort Lauderdale, FL, USA Irish Art 1943–1973, Ulster Museum, Belfast, Northern Ireland, UK Catherine Porter Scully / Sean Scully: Arbeiten and Wandmalerei, Museum für (Sub-) Kultur, Berlin, Germany Art for Collectors, Museum of Art, Rhode Island School of Design, Providence, RI, USA 1980 Irish Art 1943–1973, Crawford Municipal Art Gallery, Cork, Ireland Marking Black, Bronx Museum of the Arts, New York, NY, USA New Directions, Princeton University Art Museum, Princeton, NJ, USA The Newcastle Connection, Polytechnic Art Gallery, Newcastle upon Tyne, UK The International Connection, Sense of Ireland Festival, Roundhouse Gallery, London, UK Growing Up with Art, Leicestershire Collection for Schools and Colleges, Whitechapel Art Gallery, London, UK

The British Art Show, Mappin Art Gallery, Sheffield, UK; Laing Art Gallery, Newcastle upon Tyne, UK; Hatton Art Gallery, Newcastle upon Tyne, UK; the University Gallery, University of Newcastle, Newcastle upon Tyne, UK; Arnolfini, Bristol, UK; Bristol and Royal West of England Academy, Bristol, UK Susan Caldwell Gallery, New York, NY, USA Tolly Cobbold Eastern Arts 2nd National Exhibition, Fitzwilliam Museum, Cambridge, UK; Norwich Art Gallery, Norwich, UK; Ipswich, UK; Camden Art Center, London, UK; Sheffield, UK 1978 Certain Traditions: Recent British and Canadian Art, The Edmonton Art Gallery, Edmonton, Canada; Glenbow-Alberta Institute, Calgary, Canada; Mendel Art Gallery, Saskatoon, Canada; Art Gallery of Windsor, Windsor, Canada Small Works, Newcastle Polytechnic Art Gallery, Newcastle upon Tyne, UK 1977 British Painting 1952–1977, Royal Academy of Arts, London, UK Works on Paper – The Contemporary Art Society’s Gifts to Public Galleries 1952–1977, Diploma Galleries, Royal Academy of Arts, London, UK; Rowan Gallery, London, UK 1976

ROSC, University College Gallery and National Gallery of Ireland, Dublin, Ireland

7 Artists from the Rowan Gallery, Sunderland Arts Centre, Sunderland, UK; Rowan Gallery, London, UK

1979

1975

Fourteen Painters, Lehmann College Art Gallery, City University of New York, New York, NY, USA

The British Art Coming: Contemporary British Art, De Cordova Museum, Lincoln, MA, USA; Rowan Gallery, London, UK

New Wave Painting, The Clocktower, New York, NY, USA

The Arts Club, London, UK

Certain Traditions: Recent British and Canadian Art, Art Gallery of Hamilton, Hamilton, Canada; London Regional Art Gallery, London, Canada; Memorial University of Newfoundland, St Johns, Canada; Mostyn Art Gallery, Llandudno, Wales, UK First Exhibition, Toni Birkhead Gallery, Cincinnati, OH, USA

236

1974 British Painting ’74, Hayward Art Gallery, London, UK Dixieme Biennale Internationale D’Art De Menton, Palais De L’Europe, Menton, France John Moores Liverpool Exhibition 9, Walker Art Gallery, Liverpool, UK

1973 La Peinture Anglaise Aujourd’hui, Musée d’Art Moderne de la Ville de Paris, Paris, France Critics Choice, Gulbenkian Gallery, People’s Theatre, Newcastle upon Tyne, UK 1972 John Moores Liverpool Exhibition 8, Walker Art Gallery, Liverpool, UK Northern Young Painters, Stirling University, Stirling, UK 1971 Art Spectrum North, Leeds City Art Gallery, Leeds, UK; Laing Art Gallery, Newcastle upon Tyne, UK; Manchester City Art Gallery, Manchester, UK Annual Students’ Summer Exhibition, Hatton Gallery, University of Newcastle, Newcastle upon Tyne, UK 1970 Northern Young Contemporaries, Whitworth Art Gallery, University of Manchester, Manchester, UK Young Contemporaries, Royal Academy of Arts, London, UK; travelled under the auspices of the Arts Council of Great Britain

Site-specific Work

Public Collections

2014–2015

Abbott Hall Art Gallery, Kendal, UK

Church of Santa Cecília de Montserrat, Barcelona, Spain

Ackland Art Museum, University of North Carolina at Chapel Hill, NC, USA

2011

Akademie der Bildenden Künste, Munich, Germany

Paintings for the lecture hall, KPMG, Frederiksberg, Denmark 2010 Glass at Girona Cathedral, Girona, Spain 2009 Painting for Frederik 8.s Palæ, Amalienborg, Copenhagen, Denmark

Cleveland Museum of Art, Cleveland, OH, USA Coleccion Conei, Barcelona, Spain

Albertina, Vienna, Austria

Consejería de Cultura, Santander, Spain

Albright-Knox Art Gallery, Buffalo, NY, USA

Contemporary Art Society, London, UK

Allied Irish Banks Corporation, Dublin, Ireland

Corcoran Gallery of Art, Washington DC, USA

Arkansas Arts Center Foundation Collection, Little Rock, AR, USA

Council of National Academic Awards, Arts & Humanities Research Council Art Collection, Bristol, UK

ARS AEVI Museum of Contemporary Art, Sarajevo, Yugoslavia

2007

Art Gallery of New South Wales, Sydney, Australia

Sculpture Wall of Light Cubed, Château La Coste, Aix-en-Provence, France

Art Gallery of Ontario (AGO), Ontario, Canada

2004

Art Gallery of South Australia, Adelaide, South Australia

Painting ‘Et skib er ikke en ø’ for Takkelloftets Foyer, Operaen, Copenhagen, Denmark

Cincinnati Art Museum, Cincinnati, OH, USA

Art Institute of Chicago, Chicago, IL, USA Arts and Humanities Research Council, Bristol, UK Arts Council of Great Britain, London, UK 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, UK Bridgestone Museum of Art, Ishibashi Foundation, Tokyo, Japan British Council Art Collection, London, UK Carnegie Museum of Art, Pittsburgh, PA, USA Carpenter Center for the Visual Arts, Harvard University, Cambridge, MA, USA Central Academy of Fine Arts (CAFA), Beijing, China Centre de la Gravure et de l’Image Imprimee, La Louviere, Belgium Centre National des Artes Plastiques, Paris, France Ceolfrith Arts Centre, Sunderland, UK Chase Manhattan Bank, New York, NY, USA Chatsworth House, Derbyshire, UK Chazen Museum of Art, University of Wisconsin, Madison, WI, USA Chemical Bank, New York, NY, USA

Crawford Municipal Art Gallery, Cork, Ireland Daimler Art Collection, Stuttgart, Germany Dallas Museum of Art, Dallas, TX, USA David Winton Bell Gallery, List Art Center, Brown University, Providence, RI, USA Denver Art Museum, Denver, CO, USA Des Moines Art Center, Des Moines, IA, USA Deutsche Bank, London, UK Dublin City Gallery The Hugh Lane, Dublin, Ireland DZ Bank AG Kunstsammlung, Frankfurt, Germany Eastern Arts Association, Cambridge, UK Fine Arts Museum of San Francisco, de Young Museum, San Francisco, CA, USA First Bank of Minneapolis, Minneapolis, MN, USA Fogg Art Museum, Harvard University, Cambridge, MA, USA Foundation Stiftelsen Focus, Boras, Sweden Fort Lauderdale Museum of Art, Fort Lauderdale, FL, USA Fundació ‘la Caixa’, Barcelona, Spain Fundació Alorda-Derksen, Barcelona, Spain Fundación Bancaja, Valencia, Spain Fundación Caixa Galicia, La Coruña, Spain Fundación Grupo Urvasco (Homage to Chillida Collection), Vitoria-Gasteiz, Spain Galleria d’Arte Moderna, Fondazione, Torino Musei, Torino, Italy Gemäldegalerie Neue Meister, Staatliche Kunstsammlungen Dresden, Dresden, Germany Guangdong Museum of Art, Guangzhou, China High Museum of Art, Atlanta, GA, USA Hilti Art Foundation, Schaan, Liechtenstein

237

Hirshhorn Museum and Sculpture Garden, Washington DC, USA

Modern Art Museum of Fort Worth, Fort Worth, TX, USA

Hood Museum of Art, Dartmouth College, Hanover, NH, USA

Moderna Museet, Stockholm, Sweden

Nelson-Atkins Museum of Art, Kansas City, MO, USA

Hôtel des Arts, Toulon, France

Montreal Museum of Fine Arts, Montreal, Canada

Neue Galerie, Museumlandschaft Hessen, Kassel, Germany

House of Fine Arts / Modern Gallery, László Vass Collection, Veszprém, Hungary

Mount Holyoke College Art Museum, South Hadley, MA, USA

Hunterian Art Galery, Glasgow, Scotland, UK

Multimedia Art Museum, Moscow, Russia

Neue Pinakothek, Bayerische Staatsgemäldesammlungen, Munich, Germany

Iris and B. Gerald Cantor Center for Visual Arts, Stanford University, Stanford, CA, USA

Musée d’art contemporain du Val-de Marne, Vitry-sur-Seine, France

Irish Museum of Modern Art, Dublin, Ireland

Musée d’Art Moderne de Saint-Etienne Métropole, Saint-Etienne, France

Institut Valencià d’Art Modern (IVAM), Centre Julio González, Valencia, Spain

Musée de Roland Garros, Paris, France

Jean-Michel Cazes, Château CordeillanBages, Pauillac, France Kemper Museum of Contemporary Art, Kansas City, MO, USA

Musée du Dessin et de l’Estampe Originale, Gravelines, France Musée Jenisch, Vevey, Switzerland Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

National Museum Cardiff, Cardiff, UK

Newsweek, New York, NY, USA Northern Arts Association, Newcastle upon Tyne, UK Norwich Castle Museum, Norwich, UK Open Museum, Environmental & Heritage Resource Centre, Leicestershire, UK Orlando Museum of Art, Orlando, FL, USA Paine Webber Group, Inc, New York, NY, USA

Museo Chillida-Leku, Hernani, Spain

Philadelphia Museum of Art, Philadelphia, PA, USA

Museo de Arte Contemporaneo, Caracas, Venezuela

Philip Morris, Inc., New York, NY, USA Pier Arts Centre, Orkney, Scotland, UK

Museo de Arte Contemporaneo, Monterrey, Mexico

Power Institute, University of Sydney, Sydney, Australia

La Colombe d’Or, St Paul de Vence, France

Museo de Arte Moderna di Bologna, Bologna, Italy

Princeton University Art Museum, Princeton, NJ, USA

La Fondation Edelman, Lausanne, Switzerland

Museo de Arte Moderno, Col. Bosques de Chapultepec, Mexico

Reader’s Digest Art Collection, New York, NY, USA

Laing Art Gallery, Newcastle upon Tyne, UK

Museo de Arte Moderno, Mexico City, Mexico

Ruhr Universitat, Bochum, Germany

Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Sala Rekalde, Bilbao, Spain

Kunst- und Museumsverein Wuppertal, Wuppertal, Germany Kunsthalle Bielefeld, Bielefeld, Germany Kunsthaus Zürich, Zürich, Switzerland Kunstsammlung Nordrhein-Westfalen K20 / K21, Düsseldorf, Germany

Langen Foundation, Neuss, Germany Lászlo Vass Collection, Veszprém, Hungary Leeum, Samsung Museum of Art, Seoul, Korea Leicestershire Educational Authority, Leicester, UK Lentos Kunstmuseum Linz, Linz, Austria Los Angeles County Museum of Art, Los Angeles, CA, USA

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

Saastamoisen Säätiö, Helsinki, Finland Sammlung Essl, Vienna / Klosterneuburg, Austria Sammlung Ströher, Darmstadt, Germany San Diego Museum of Art, San Diego, CA, USA Santa Barbara Museum of Art, Santa Barbara, CA, USA

Louisiana Museum of Modern Art, Humlebæk, Denmark

Museum Pfalzgalerie, Kaiserslautern, Germany

Malaysian Exchange of Securities Dealing and Automated Quotation Collection, New York, NY, USA

Museum of Fine Arts, Boston, MA, USA Museum of Fine Arts Houston, Houston, TX, USA

Manchester City Art Gallery, Manchester, UK

Museum of Modern Art, New York, NY, USA

Maxine and Stuart Frankel Foundation for the Arts, Bloomfield Hills, MI, USA

Nagoya City Art Museum, Nagoya, Japan

Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, NE, USA

National Gallery of Art, Washington DC, USA

Smith College Museum of Art, Northampton, MA, USA

National Gallery of Australia, Canberra, Australia

Smithsonian American Art Museum, Washington DC, USA

National Gallery of Victoria, Melbourne, Australia

Snite Museum of Art, University of Notre Dame, Notre Dame, IN, USA

Mellon Bank, Pittsburgh, PA, USA Metropolitan Museum of Art, New York, NY, USA Miami Art Museum, Miami, FL, USA

238

Sara Hilden Art Museum, Tampere, Finland Seattle Art Museum, Seattle, WA, USA Shearson Lehman American Express Inc., New York, NY, USA

Awards and Fellowships Solomon R. Guggenheim Museum, New York, NY, USA 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 Stanford University, Stanford, CA, USA Strasbourg Mseum of Modern and Contemporary Art, Strasbourg, France Tate, London, UK Tel Aviv Museum of Art, Tel Aviv, Israel The Art Institute of Chicago, Chicago, IL, USA The British Museum, London, UK The Broad Art Foundation, Los Angeles, CA, USA The Contemporary Museum, Honolulu, HI, USA The GAP Collection, San Francisco, CA, USA The Gertsev Collection, Moscow, Russia The Israel Museum, Jerusalem, Israel The Maramotti Collection, Reggio Emilia, Italy The Phillips Collection, Washington DC, USA The Rose Art Museum, Brandeis University, Waltham, MA, USA The Saint Louis Art Museum, Saint Louis, MO, USA Toledo Museum of Art, Toledo, OH, USA Tokyo International Forum Art Collection, Tokyo, Japan UBS Art Collection, New York, NY, USA and Zurich, Switzerland UCLA Grunwald Center for the Graphic Arts / Hammer Museum, Los Angeles, CA, USA Ulster Museum, Belfast, Northern Ireland University of Limerick, Limerick, Ireland University of Northumbria, Newcastle, UK Van Cliburn Foundation, Fort Worth, TX, USA

Victoria and Albert Museum, London, UK

2018

Virginia Museum of Fine Arts, Richmond, VA, USA

Honorary Degree, Doctor of Letters, Newcastle University

Von der Heydt Museum, Wuppertal, Germany

2016

Wadsworth Atheneum Museum of Art, Hartford, CT, USA

Awarded Harper’s Bazaar Art International Artist of the Year, Hong Kong, China

Walker Art Center, Minneapolis, MN, USA

Awarded IX Premis GAC, Barcelona, Spain

Wilhelm-Hack-Museum, Ludwigshafen am Rhein, Germany

2015

Whitney Museum of American Art, New York, NY, USA Whitworth Art Gallery, Manchester, UK Willy Michel Collection, Museum Franz Gertsch, Burgdorf, Switzerland Yale University Art Gallery, New Haven, CT, USA Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany

Awarded V Congreso Asociacion Protecturi, Madrid, Spain 2014 Doctor of Fine Arts, honoris causa, by National University of Ireland, Galway, Northern Ireland, UK, at the Burren College of Art 2013 Becomes member of the Royal Academy of the Arts, London, UK 2008 Honorary Degree, Doctor Honoris Causa, Universitas Miguel Hernandez, Elche, Spain 2003 Honorary Degree, Doctorate of Fine Arts, Massachusetts College of Art, Boston, MA, USA; Honorary Degree, National University of Ireland, Dublin, Ireland 2001 Becomes member of Aosdána, Ireland 2000 Honorary Member of the London Institute of Arts and Letters, London, UK 1983 Guggenheim Memorial Foundation Fellowship, New York, NY, USA 1984 National Endowment for the Arts Fellowship, London, UK 1975–1977 Harkness Fellowship, New York, NY, USA 1972 Frank Knox Fellowship, London, UK

239

Published by Kerlin Gallery in conjunction with the exhibition Sean Scully Landlines and other recent works De Pont Museum, Tilburg 21 April – 26 August 2018 1000 copies isbn: 978-0-9570070-8-6 All rights reserved. No part of this publication may be reproduced or transmitted, in any form or by any means, electronic or mechanical, including photography, recording, or any other information storage and retrieval system, without prior permission in writing from the publisher. All works, unless otherwise stated © Sean Scully All words © the authors Front cover: Eleuthera, 2017 Oil on aluminium 215.9 × 190.5 cm (85 × 75 in) Catalogue design: Tony Waddingham Proofreading: Rosa Abbott and First Edition Translations Ltd With sincere thanks to: Hendrik Driessen and Maria Schnyder; Michellé Hoban, Frank Hutter, and Paul Anagnostopoulos Kerlin Gallery Anne’s Lane South Anne Street Dublin 2 Ireland tel: +353 1 670 9093 e-mail: gallery@kerlin.ie www.kerlin.ie

Photography credits: Neo Neo Inc., New York: pp. 1, 17–21, 24–28, 36–49, 53–55, 58–71, 76–79, 82–89, 93–105, 110–19, 123–37, 143–49, 153–58, 163–75, 179–83, 187–91, 196–99, 205–13, 217–21 Gert Jan van Rooij, Amsterdam: pp. 2, 6–7, 14–15, 22–23, 31, 34–35, 50–51, 56–57, 72–75, 80–81, 90–91, 106–9, 120–21, 138–41, 150–51, 160–61, 176–77, 184–85, 192–95, 200–3, 214–15 Peter Cox, Eindhoven: pp. 222–23