Portrait of Sean Scully, 2018. Image courtesy of the artist. Photo by Felix Friedmann. © Felix Friedmann

Many who have visited The Modern in the past may have noticed Scully’s large striped panels. The museum has approximately 20 of his pieces on hand. While it is their third show of his work, it represents the first retrospective anyone has shown since 1995.

Originally scheduled to open in Philadelphia in May of 2020, the show is finally making its way before audiences as the world slowly re-opens. Perhaps after a year in various forms of lockdown, these minimalist portals are an ideal way to reconsider art and how it feels to absorb it in these large spaces once again.

From his earliest projects into his more recent years, Scully has continually revisited themes, motifs, and concepts that unify his style while experimenting with elements that serve to bring new energy to the overall project.

A work that shows this process exceptionally well is “Harvard Frame Painting” from a 1972 fellowship that brought him to the United States. Following a trip there in 1969, the artist incorporated Moroccan influences of textiles utilizing felt strips. The rhythmic gestures of the crosshatch or chessboard resonate in many of the pieces, seen in the application of spray paint. The light dancing on the wall behind the work hints at the shadow play and grids persisting throughout the artist’s career.

A common language of line distills through all of the work regardless of the size or materials. It is an underlying conversation Scully seems to have with his work and that of other artists and writers, as he often references historical and literary artifacts.

Heart of Darkness, 1982, by Sean Scully. Oil on canvas, 8×12 feet. Art Institute of Chicago, Gift of Society for Contemporary Art, 1988.259. Image courtesy of the Art Institute of Chicago/Art Resource NY. ©Sean Scully.

Moments of discovery come in various forms: from insets that act as “paintings within paintings” to the found pieces of wood that illustrate time and the lives of objects. As the projects grow in size, these architectural, often improvisation panel pieces reward the patient eye that sits with them. One might make a note of wood from a Montauk barn he came across during an artist residency, which he utilized for “Heart of Darkness” from 1981.

Building on this sense of place is the “Wall of Light” series starting in the late 1990s, which bear an intense residue or trace of memory. Scully’s artwork is profoundly alive, colorfully reflecting, for example, a trip to Mexico. These pieces are triumphant and resonate with the deep architectural sensibility of his work, inviting the viewer to follow the passage of time as seen in light migrating across the surface of a wall. The various material textures represent a sort of “organized chaos.” They give off vibrant energy that organically gives way to the rich colors found in the “Doric” series, many of which are seen together for the first time.

With patterns reminiscent of Matisse, formal experimentation compelled by Picasso, and structural forms that recall the work of Ellsworth Kelly, Scully has continued to challenge himself.

The recurring motif of the checkerboard and mirror transform with the inclusion of different materials – like stucco. Progressing away from the feel of paint enhances the sense of layered architectural facades.

Landline North Blue, 2014, by Sean Scully. Oil on aluminum, 7 fee 1 inch x 6 feet 3 inches. Forman Family Collection. Image courtesy of the artist. Photographer: Robert Bean. © Sean Scully.

From one gallery to the next, one sees classical proportions and an ongoing discussion of reflection and rhythm, displayed perfectly by the “Landlines” series, dating back to the ‘70s. The bands of color are meditative and recall the abstract breakthroughs of Mark Rothko.

More recent work, including 2017’s “Yellow Ascending,” develop this sense of the work as a window into other spaces or worldviews. However, they are not obligated to specify anything further to the viewer about how to envision these portals.

Sean Scully: The Shape of Ideas will be on view through October 20th at The Modern Art Museum of Fort Worth. The show expands dramatically on The Modern’s collection of Scully’s work. It makes excellent use of the museum’s sightlines and heightens the complete sense one has as they walk through the artist’s career.

An Austin native, Lyle Brooks relocated to Fort Worth in order to immerse himself in the burgeoning music scene and the city’s rich cultural history, which has allowed him to cover everything from Free Jazz to folk singers. He’s collaborated as a ghostwriter on projects focusing on Health Optimization, Roman Lawyers, and an assortment of intriguing subjects requiring his research.

The post A Legacy of Experimentation: Sean Scully at the Modern first appeared on Tanglewood Moms.

Rhonda Brunson is a local photographer and president of the Choose Courage Foundation. She also serves on the board of SafeHaven of Tarrant County. Rhonda decided to combine her two disciplines into a new and unique way of helping survivors of domestic violence. In an effort to facilitate the healing process, the Courage project photographs survivors of domestic violence in such a way that the finished art reflects the beauty of the individual that made it through a horrible situation. By showing that survivors come from all walks of life and personal backgrounds, Rhonda hopes to break down the stigma and shame surrounding domestic violence. After one of the first photo shoots, Rhonda showed the model the pictures she had taken. The model said, “I never knew I was beautiful.” By showing them a different aspect of themselves, survivors gain hope and the inspiration to move forward with their lives, not letting the past define them.

On Thursday, October 5, the Choose Courage Foundation will be hosting the Courage Fine Art Exhibition and Chef Tasting for an evening of inspiration, art, and amazing food. COURAGE is a juried national fine art exhibition and is a celebration of the human spirit and the beauty that can emerge from difficult and tragic situations. You will have a chance to meet the artists, sample fabulous food, and purchase original art from local talent. Chef partners include: Bonnells, Savor Culinary Services, Unique Catering, Campisi’s, Dough Boy Donuts, Holy Kombucha, Jax’s Sweet Treats, Leaves Book & Tea Shop, and Alchemy Pops. Approximately 60 pieces of art will be for sale with those proceeds going to SafeHaven of Tarrant County along with any additional donations. SafeHaven is the largest and most comprehensive domestic violence agency in the DFW metroplex. They house approximately 2,000 women and children annually in their shelters. They answer more than 34,000 hot line calls, and 85% of the residents who spend more than 3 weeks at the shelter exit to stable permanent housing.

The Courage Fine Art Exhibition will be held at the Fort Worth Community Arts Center on October 5, from 5:30 PM to 7:30 PM. Tickets may be purchased here and are $50 per person. The Choose Courage Foundation also has links on their website. A domestic violence hotline is also available, 24/7, at 1−800−787−3224.

Domestic violence lives in the dark, in secret. It’s very nature is repugnant and often viewed as a taboo subject. This problem can only survive in the dark, in silence. We must choose, as a community, as a culture, to shine a light on the issue and speak up for those we care about. It is the time and place to bring this conversation into the public arena and to not let it stagnate and stall. We owe it to those we love, and ourselves, to foster a feeling of safety and support for those that need it.

David Geurkink is a recent transplant to Fort Worth. A former zookeeper with Fossil Rim, he is enjoying learning about all that his new city has to offer.

The post Help Choose Courage first appeared on Tanglewood Moms.