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JACK THE WOLF
Sean Scully, Oisin Scully
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R463
Discovery Miles 4 630
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Ships in 12 - 17 working days
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A rumination on authority and its limitations, about what we think
we know - and the spaces in between. In Confessions of Narcissus,
Scully suggests that our demand for narrative coherence is one of
the things that makes our lives so difficult to bear, that when
William Hazlitt declared, "It is we who are Hamlet", he was telling
us something about Shakespeare's universality that is worth
considering: Hamlet does not just give voice to our own fears and
anxieties, he also calls them into being. In the process of trying
to find cures for ourselves, that is to say, we become creators, to
some extent, of our own misfortunes. Confessions of Narcissus
builds from the idea that stories are what we require and also
(partly) what we suffer from. In this series of observations and
aphorisms about literature and life, Scully makes the case that
uncertainty isn't an ailment that we should necessarily try to
overcome. Following in the tradition of Keats and others,
uncertainty may be something that we have good cause to be more
curious about, that uncertainty has artistic merit and is a state
of being that we might even come to enjoy.
Sean Scully is one of today's best-loved abstract painters. His
familiar signature style of lines or bands of colour, alluding to
architectural elements such as portals, windows and walls, is one
of the most instantly recognizable in contemporary painting. This
book brings together for the first time his photographs of the dry
stone walls found on the Aran Islands, off the west coast of
Ireland.
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
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.
This catalog, the second volume in a proposed series of five,
chronicles Sean Scully's (born 1945) paintings of the 1980s.
Beginning with major breakthrough works early in the decade, it
profiles the development of Scully's mature style as well as his
growing success in America and internationally. Scully, a native of
Ireland, was educated in England and moved to the United States in
1975. By the early 1980s, he was established in New York, where he
developed a powerful style of richly painted stripes and shapes
with a masterly control of color and strongly built canvases. In a
period of low regard for abstract painting, Scully reinvigorated
the form to include rich evocations of places, literature and
emotion.
Sean Scully (* 1945 in Dublin) is considered one of the most
significant abstract painters of our time. For decades he has
produced a wealth of variations on his core theme of lines and
stripes, creating works with a fascinating range of tone and
expression from the romantic to the melancholic. Early on in his
career Scully did figural work, to which he still feels
indebted; “To this day my paintings retain a sense of the body,
and the feeling of a physical relationship with the world.” He
considers German Expressionism one of his sources of inspiration
and specifically cites the influence of artists André Derain,
Henri Matisse, Karl Schmidt-Rottluff, and Ernst Ludwig Kirchner.
The stroke of the brush is a visible component of his painterly
abstractions. The edges of his fields of color are delineated by
hand, which lends his compositions a haptic quality. Presenting
surprising new perspectives on the artist’s work, this
publication is the first study on the interplay between figuration
and abstraction in Scully’s oeuvre. Ausstellungen/Exhibitions:
Ludwig Museum im Deutschherrenhaus Koblenz 31.8.–16.11.2014 |
Kunsthalle Rostock | Crawford Art Gallery, Cork
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