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A catalogue of the recent exhibition featuring Scully's 'Landline' paintings, which address the artist's preoccupation with the horizon. Sean Scully is one of the most important abstract artists of our time. His new publication, Landlines and other recent works, accompanies the artist's major solo exhibition at De Pont Museum, Tilburg, and centres on three important bodies of work: Doric, Landline and Eleuthera, Scully's first representational works in half a century. The publication also presents a generous selection of previously unseen early works, illustrating the world-renowned painter's development as an artist. High-quality photography illustrates the artworks both individually and in situ at the De Pont Museum's unique exhibition space. The book also includes three exemplary pieces of critical writing; Rudi Fuchs gives a rigorous analysis of Scully's robust and architectural Doric series of paintings, Kelly Grovier contributes an extensive, melodic text tracing the deep roots of Scully's recent figurative paintings, while Declan Long reflects upon Scully's undulating Landline series of paintings.
Sean Scully is one of the foremost abstract artists of contempoary art. This book provides reproductions of his huge oil paintings from the period 1982-1996. These paintings are reminiscent of the shades and geometric shapes of traditional Moroccan carpets. Scully stated after a visit to Morocco that he was moved ....by the way carpets lay around partially covering each other in stores. The book vibrates with bold arrangements of stripes in Scully's trademark glowing colours of ochre, ivory, deep red and black.
"A succinct account of the life and art of Sean Scully, widely considered to be one of the leading abstract painters of our time. This work sets his entire output within a detailed biographical framework, closely examining the relationship between the artist's paintings and his lesser-known drawings, pastels, watercolors, and prints-areas of Scully's production that are rarely considered together"--
Bold and engaging predictions of which artists and artworks from the past two decades will endure through their power to question, provoke, and inspire Just as Picasso’s Guernica or Gericault’s Raft of the Medusa survive as powerful cultural documents of their time, there will be works from our own era that will endure for generations to come. Kelly Grovier curates a compelling list of one hundred paintings, sculptures, drawings, installations, performances, and video pieces that have made the greatest impact from 1989 to the present. The global cast includes Marina Abramovic , Matthew Barney, Christian Boltanski, Louise Bourgeois, Maurizio Cattelan, Marlene Dumas, Olafur Eliasson, Andreas Gursky, Cristina Iglesias, On Kawara, Jeff Koons, Ernesto Neto, Gerhard Richter, Pipilotti Rist, Kara Walker, and Ai Weiwei. Many of the pieces reflect the cultural upheavals of recent times, from the collapse of the Berlin Wall to the blossoming of the Arab Spring. A daring yet convincing analysis of which artworks best capture the zeitgeist of our time, Grovier’s list also provides a much-needed map through the landscape of contemporary art. Illustrations of key works are supplemented by comparative images, and short texts offer a biography of each artwork, tracing its inception and impact, and offering a view not only into the imagination of the artist but into the age in which we live.
"Published to accompany the exhibition: "Sea star: Sean Scully at the National Gallery" 13 April - 11 August 2019"--Title page verso.
Painter, photographer, watercolorist, and printmaker Sean Scully roams the world with his camera, capturing its surfaces in places as far-flung as Mexico and the Aran Islands, as close to home as his own studio. His photographs sometimes consist of close-up shots of his own paintings, wherein he zooms in on the material reality of his richly painted surfaces and transforms their colors and shapes into a different abstract configuration. More often, Scully goes from recognizable objects in the larger world to subjective impressions of them. Snapshots of façades, windows, and doors are never straightforward recordings of architectural elements. By depicting fading walls, cracked surfaces, rough edges, and the deep shadows created by them, these images capture beauty in decay, and evoke the basic contradiction of nature and life: solidity and fragility, timelessness and change. As metaphors of physical and mental conditions, the photographs capture the memories, feelings, and thoughts connected to the experience of that reality. It is precisely this continuing interchange of the recognizable and abstract worlds, the visible and the invisible, that empowers Scully's works in all media.
What makes a person an artist? How do works of art and their very own, extraordinary style come into being? And how does the prominent painter view his own work? The world-famous painter Sean Scully met with the philosopher David Carrier for several in-depth interview sessions. Their conversations explore these and many more questions about Scully's life, work, and ideas. The result is a rich manuscript that very closely approaches the status of a valid autobiography. Scully provides personal insights into his life and the important sources of inspiration for his career. He discusses his own view of his entire oeuvre, of art history and his position within it. Thus, this text becomes a literal eye-opener for Scully's art, which can be (re)discovered through his words. SEAN SCULLY (*1945, Dublin) is one of the most famous artists of his generation. In addition to numerous exhibitions worldwide, he has been honored with important awards such as the Guggenheim Fellowship and Harckness Fellowship. DAVID CARRIER (*1944) is a philosopher and art critic. His contributions to art appear in ArtForum and ArtUS, among others. With this interview tape, he takes up an interest of his teacher Arthur C. Danto, whose texts on Scully were published by Hatje Cantz in 2015.
Taking the visual arts as its focus, this anthology explores aspects of cultural exchange between Ireland and the United States. Art historians from both sides of the Atlantic examine the work of artists, art critics and art promoters. Through a close study of selected paintings and sculptures, photography and exhibitions from the nineteenth century to the present, the depth of the relationship between the two countries, as well as its complexity, is revealed. The book is intended for all who are interested in Irish/American interconnectedness and will be of particular interest to scholars and students of art history, visual culture, history, Irish studies and American studies.