Editing Sean Scully (section)

== Career ==

=== Early career: 1970–1980 ===
Scully's first commercial show, at the Rowan Gallery in London, sold out. During this period Scully taught at the [[Chelsea College of Arts|Chelsea College of Art and Design]], and Goldsmith's, while continuing to paint in his Elephant Lane studio in [[Rotherhithe]]. In 1975, at the age of 30, Scully was awarded a two-year [[Harkness Fellowship]] with which he moved to New York.<ref>{{Cite web|url=https://www.phillipscollection.org/research/american_art/bios/scully-bio.htm|title=Sean Scully - Bio|website=American Art - The Philips Collection|access-date=2019-12-15}}</ref>

Once in New York, he began to develop important friendships with fellow artists such as [[Robert Ryman]], and others in academic and artistic circles. Scully's response in the 1970s had been to bring the objectives of American [[Minimalism (visual arts)|Minimalism]] together with those of [[Op art]], an important current in Europe, creating works using overlays and “supergrids” that bridged these two artistic movements in a new way.<ref>{{Cite book|url=https://books.google.com/books?id=RY4iBEhepysC&q=sean+scully&pg=PA245|title=The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s|date=1994|publisher=Penn State Press|isbn=978-0-271-04297-8|page=250}}</ref> Once in New York, Minimalism had a strong influence on his work, and for a few years, Scully's palette was reduced to the grey monochrome ‘Black paintings’ series.<ref name=":2">{{Cite news|url=https://pacpobric.com/pdfs/May-2015-Scully.pdf|title=Sean Scully: THE WANDERER|last=Pobric|first=Pac|date=May 2015|work=The Art Newspaper}}</ref>

Scully began working on the series known as ''The Catherine Paintings'' in 1979, while sharing his Duane Street studio with his third wife, the artist [[Catherine Lee (painter)|Catherine Lee]]. The idea behind the series was to choose the important painting Scully produced during each year together, that would then become part of a collection named after her.<ref name="themodern.org">{{Cite web|url=https://www.themodern.org/blog/Seeing-Stripes-Sean-Scullys-Catherine-Series/352|title=Seeing Stripes: Sean Scully's "Catherine" Series {{!}} Modern Art Museum of Fort Worth|website=themodern.org|access-date=2019-12-17}}</ref> This was the beginning of Sean's own private collection of his work.<ref name=":0" />

=== Departure from Minimalism: 1980–1982 ===
[[File:Backs and Fronts by Sean Scully.jpg|thumb|''Backs and Fronts'', 1981, oil on linen and canvas. [[Kerlin Gallery]], Dublin.]]
By 1980 Scully considered himself to be at war with the movement of Minimalism in New York and wanted to bring more human elements into his art.<ref>{{Cite book|title=Inner : the collected writings and selected interviews of Sean Scully|last=Scully|first=Sean|year=2016|isbn=978-3-7757-4164-4|pages=290|publisher=Hatje Cantz |oclc=994772412}}</ref> He made multiple trips to Morocco and Mexico during this time, as he considered these trips to have “a direct bearing on what I think art should be doing – which is concentrating on what’s interesting, engaging, perverse, and beautiful about human nature.”<ref>Archived at [https://ghostarchive.org/varchive/youtube/20211211/ynKoopfmNZU Ghostarchive]{{cbignore}} and the [https://web.archive.org/web/20200229005303/https://www.youtube.com/watch?v=ynKoopfmNZU Wayback Machine]{{cbignore}}: {{cite AV media|people=Sean Scully on Henri Matisse|date=14 June 1992|title=Artists' Journeys|medium=Video|url=https://www.youtube.com/watch?v=ynKoopfmNZU|publisher=BBC Two}}{{cbignore}}</ref> He later commented that “I had decided that what had been stripped out of painting—i.e., the ability to make relationships, to be metaphorical and referential, spiritual, poetic, all those things and aspects of human nature—had to be put back in if painting was to go forward.”<ref>{{Cite book|title=Inner : the collected writings and selected interviews of Sean Scully|last=Scully|first=Sean|year=2016|isbn=978-3-7757-4164-4|pages=41|publisher=Hatje Cantz |oclc=994772412}}</ref>
In 1981 the first retrospective of Sean Scully's work was held at the [[Ikon Gallery]] in [[Birmingham]].<ref>{{Cite web|url=https://cristearoberts.com/artists/84-sean-scully/|title=Sean Scully|website=Cristea Roberts Gallery|access-date=2019-12-15}}</ref> This was also the year that Scully's confidence to withdraw from adherence to Minimalism became apparent, with the return of color and space, and the freehand drawing of stripes and visible brushstrokes, rather than the hard lines of tape.<ref>{{Cite news|url=https://www.washingtonpost.com/archive/lifestyle/style/1995/06/18/sean-scullys-many-sided-rectangles/7d03d3cb-1f81-412a-bdc9-7184dd8a2b16/|title=SEAN SCULLY'S MANY-SIDED RECTANGLES|last=Lewis|first=Jo Ann|date=1995-06-18|newspaper=Washington Post|access-date=2019-12-17|issn=0190-8286}}</ref> Scully had a breakthrough with the seminal 1981 painting ''Backs and Fronts'', which had a profound impact in the 1982 exhibition 'Critical Perspectives' at the [[PS1 Contemporary Art Center]].<ref>{{Cite book|url=https://books.google.com/books?id=RY4iBEhepysC&q=sean+scully&pg=PA245|title=The Aesthete in the City: The Philosophy and Practice of American Abstract Painting in the 1980s|date=1994|publisher=Penn State Press|isbn=978-0-271-04297-8|page=262}}</ref> This was a watershed painting which British conceptual artist [[Gillian Wearing]] has said “broke the logjam of American minimalist painting”.<ref>{{Cite web|url=http://www.designcurial.com/news/curated-diary-191114-4443766/|title=Gillian Wearing picks her top art, design and architecture events|publisher=DesignCurial|website=designcurial.com|access-date=2019-12-14}}</ref>

=== Geometric Abstraction: 1982–present ===
In 1982 Scully began to work with the gallerist David McKee, an important relationship that lasted for a decade. During the summer of that year, Scully started producing small multi-panel works on found pieces of wood while staying in [[Montauk, New York|Montauk]] at the Edward Albee artist's colony. These works were titled ''Ridge'', ''Plum'', and ''Bear'' after the islands that surround Long Island. He also began applying a combination of rigid geometry and expressive texture and colour to larger paintings that year. A prime example of this was ''Heart of Darkness'', inspired by the [[Heart of Darkness|1899 novella of the same name]].<ref name=":2" /> Scully began collaborating with Mohammad O. Khalil in 1983, this was the first time he had collaborated with a printmaker and was the start of a career-long commitment to [[printmaking]]. That same year, Scully was awarded a [[Guggenheim Fellowship]]<ref>{{Cite web
| url = https://www.gf.org/fellows/sean-scully/
| title = San Scully - John Simon Guggenheim Memorial Foundation
| website = www.gf.org
| access-date = 2024-06-13
}}</ref> for Fine Arts. 

In 1984, the [[Museum of Modern Art]] included Scully in their International Survey of Recent Painting and Sculpture. The following year Scully's first American solo museum exhibition was held at the Museum of Art, [[Carnegie Museums of Pittsburgh|Carnegie Institute]] in 1985, and traveled to the [[Museum of Fine Arts, Boston]]. Other major museums also began to acquire Scully's large-scale paintings, despite the dominant trend of the time tending towards [[Postmodernism]]. Scully's paintings from this period are heavy and physical in terms of both size and aesthetic, and make use of large-scale stretchers.<ref name=":3">{{Cite book|url=https://books.google.com/books?id=Bl9DLQ3a8t4C&q=sean+scully&pg=PA157|title=Modern Art Museum of Fort Worth|last3=Auping|first3=Michael|last4=Karnes|first4=Andrea|last5=Thistlethwaite|first5=Mark Edward|date=2002|publisher=Third Millennium Information Ltd|isbn=978-1-903942-14-7|page=157}}</ref>

By 1987, Scully's work became less complex, flatter and smaller in scale, and began to include lighter color palettes beginning with ''Pale Fire'' in 1988. The same year, while experimenting with watercolours on a beach in Mexico, Scully created the first image that would become an extended meditation on architecture and light with the ''Wall of Light'' series.<ref>{{Cite book|url=https://books.google.com/books?id=sPGdBxzaWj0C&q=sean+scully+ikon&pg=RA3-PA405|title=The Grove Encyclopedia of American Art|last=Marter|first=Joan M.|date=2011|publisher=Oxford University Press|isbn=978-0-19-533579-8}}</ref> In 1989 the [[Whitechapel Gallery]] in London held a solo exhibition for Scully, which then travelled to Palacio Velázquez in Madrid and to the [[Städtische Galerie im Lenbachhaus]] in Munich. These were Scully's first solo exhibitions in mainland Europe. The art critic [[Robert Hughes (critic)|Robert Hughes']] 1989 piece for TIME magazine cemented Scully's increasing reputation.<ref>{{Cite magazine|url=http://content.time.com/time/magazine/article/0,9171,958342,00.html|title=Art: Earning His Stripes|last=Hughes|first=Robert|date=1989-08-14|magazine=Time|access-date=2019-12-17|issn=0040-781X}}</ref>

The painting ''Why and What (Yellow)'' in 1988 was the first to incorporate an inset element of steel. By 1991 Scully expanded the use of steel, setting oil on linen insets into large steel panels. He also began the regular use of a checkerboard motif at this time, first hinted at in his ''Taped and Hidden Drawing'' paintings of the mid-1970s. In 1992, while teaching at Harvard University, Sean Scully revisited Morocco to film the BBC documentary ''The Artist's Journey: Sean Scully on Henri Matisse'', with [[Henri Matisse|Matisse]] having visited Morocco in 1912 - 1913. 1993 saw the first exhibition of ''The Catherine Paintings'', at the [[Modern Art Museum of Fort Worth]], Texas. In 1994 he opened a second studio in [[Barcelona]], and he returned to Morocco in 1995, to spend more time in the country. ''Atlas Walls'' is a portfolio of Scully's photographic works taken during this trip.<ref name=":5">{{Cite web|url=http://islamicartsmagazine.com/magazine/view/light_from_the_south_an_exhibition_by_sean_scully_inspired_by_/|title='Light from the South' an exhibition by Sean Scully, inspired by Alhambra and Morocco|website=Islamic Arts Magazine|access-date=2019-12-17}}</ref>

In 1995 Scully returned to New York, moving into a large new studio in [[Chelsea, Manhattan]]. ''Chelsea Wall'' was the first painting to be made there.<ref>{{Cite web|url=https://www.philamuseum.org/exhibitions/769.html|title=Philadelphia Museum of Art - Exhibitions - Notations: Sean Scully|website=philamuseum.org|access-date=2019-12-17}}</ref> Scully received a number of invitations to speak at academic institutions, and participated in the [[Joseph Beuys]] lectures on the state of contemporary art in Britain, Europe and the US, held by the [[Ruskin School of Art|Ruskin School]] at Oxford University, England. In 1997, Scully's photography was exhibited for the first time at the Sala de Exposiciones Rekalde in Bilbao, Spain.

Scully participated in a colloquium in conjunction with the exhibition Richard Pousette-Dart at the [[Metropolitan Museum of Art]] in 1998. He visited [[Santo Domingo]] in 1999, resulting in the photography portfolio ''Santa Domingo for Nené''. That year, Scully's prints were given a retrospective at the [[Graphische Sammlung Albertina]], in Vienna, Austria, and the Musée du Dessin et de l’Estampe Originale in [[Gravelines]]. A [[catalogue raisonné]] of his prints from 1969 - 1999 was also published.

=== 2001 - 2013 ===
In 2001, the [[Modern Art Museum of Fort Worth]] acquired the complete ''Catherine'' series, eighteen paintings that each represent a year from the period 1979–1996, which was given a dedicated room for permanent exhibition in the new Museum building opened in 2002.<ref name=":3" /> In 2002 Scully was appointed Professor of Painting at the [[Academy of Fine Arts, Munich]], a position he held through to 2007. A retrospective exhibition opened in 2004 at the [[Sara Hildén Art Museum]] in [[Tampere]], Finland, which travelled to [[Klassik Stiftung Weimar]], in Germany, and the [[National Gallery of Australia]]. While in Australia, Scully spent time travelling through the red desert interior. [[File:Sean Scully - Raval Rojo - 2004.jpg|thumb|''Raval Rojo'', 2004, oil on linen, 92 x 102 cm, [[Kerlin Gallery]], Dublin]]

Between 2005 - 2006, Sean Scully's ''Wall of Light'' series was displayed at museums around the United States. This began with the exhibition ''Sean Scully: Wall of Light'' opened at [[The Phillips Collection]], Washington D.C., and travelled to the Modern Art Museum of Fort Worth, the [[Cincinnati Art Museum]], and finally the Metropolitan Museum of Fine Art to great acclaim.<ref>{{Cite news|url=https://www.nytimes.com/2006/09/29/arts/design/29scul.html|title=Sean Scully: Wall of Light - Art - Review|last=Glueck|first=Grace|date=2006-09-29|work=The New York Times|access-date=2019-12-17|issn=0362-4331}}</ref> The same year Scully travelled with a group of students from the Art Academy in Munich, to [[Inisheer]], an island off the Irish coast. It was here that the ''Aran'' portfolio of photographs were taken. In 2006 the [[Hugh Lane Gallery]] opened ''The Sean Scully Room'', a dedicated, permanent installation of the artist's work, and the [[Bibliothèque nationale de France]] held an exhibition of his prints.<ref>{{Cite news|url=https://www.irishtimes.com/culture/art-and-design/visual-art/art-in-focus-landline-gray-2015-by-sean-scully-1.3789709|title=Art in Focus: Landline Gray (2015) by Sean Scully|last=Dunne|first=Aidan|newspaper=The Irish Times|access-date=2019-12-17}}</ref> ''Sean Scully: A Retrospective'' opened in 2007 at the [[Fundació Joan Miró]], Barcelona, and travelled to the [[Musée d'art moderne (Saint-Étienne)]], and the Museo d’Arte Contemporanea Roma (MACRO) in Rome.<ref>{{Cite book|url=https://books.google.com/books?id=2IzqAAAAMAAJ|title=Sean Scully: a retrospective|last1=Scully|first1=Sean|last2=Eccher|first2=Danilo|last3=Spain)|first3=Fundació Joan Miró (Barcelona|last4=Saint-Etienne|first4=Musée d'art moderne|last5=Roma|first5=Museo d'arte contemporanea|date=2007|publisher=Thames & Hudson|isbn=9780500093382}}</ref> The [[National Gallery of Art]] in Washington D.C. invited Scully to give the Elson Lecture in 2007.<ref>{{Cite web|url=https://www.nga.gov/audio-video/audio/scully-persistence-style.html|title=Elson Lecture 2007: Sean Scully, Persistence and Style|website=nga.gov|access-date=2019-12-17}}</ref>

The retrospective exhibition ''Constantinople or the Sensual Concealed: The Imagery of Sean Scully'' opened in 2009 at the MKM Museum Küppersmühlefür Moderne Kunst, in Duisburg, Germany, and travelled to the Ulster Museum, Belfast.<ref>{{Cite web|url=http://www.stiftungkunst.de/kultur/en/projekt/constantinople-or-the-sensual-concealed-the-imagery-of-sean-scully/|title=Constantinople or the Sensual Concealed {{!}} The imagery of Sean Scully|website=Stiftung für Kunst und Kultur e.V.|access-date=2019-12-17}}</ref><ref>{{Cite news|url=https://www.irishtimes.com/culture/art-and-design/visual-art/constantinople-or-the-sensual-concealed-the-imagery-of-sean-scully-1.761226|title=Constantinople, or The Sensual Concealed: The Imagery of Sean Scully|last=Dunne|first=Aidan|newspaper=The Irish Times|access-date=2019-12-17}}</ref> In 2010 a tour of important early works from the 1980s started at the [[Centre for Contemporary Arts]], Carlow, Ireland, and then travelled to the [[Leeds Art Gallery]], and the [[Wilhelm-Hack-Museum]] in Ludwigshafen am Rhein. In 2011 the [[Chazen Museum of Art]] opened their new expansion of the museum with a solo exhibition of Scully's eight-part ''Liliane'' paintings on aluminum, and other works. Scully opened nine more solo museum exhibitions in 2012, including ''Notations: Sean Scully'' at the [[Philadelphia Museum of Art]], as well as exhibitions at museums like [[Middlesbrough Institute of Modern Art|MIMA]], [[Kunstmuseum Bern]], the Lentos Kunstmuseum in [[Linz]], and [[IVAM]] in Valencia, Spain.

=== Reception in China and new projects: 2014–2017 ===
In 2014, Scully opened a new studio space set on three acres in Tappan, New York, where he continued to extend the ''Landline'' series of paintings begun in 2000.<ref>{{Cite web|url=https://www.smithsonianmag.com/smithsonian-institution/sean-scullys-artworks-are-study-color-horizon-and-lifes-sorrows-180970334/|title=Sean Scully's Artworks Are a Study in Color, Horizon and Life's Sorrows|last=Catlin|first=Roger|website=Smithsonian|access-date=2019-12-17}}</ref> That same year, Scully opened fourteen solo exhibitions around the world, including the first major retrospective by a western artist in China. The exhibition, entitled ''Follow the Heart: The Art of Sean Scully'', opened in Beijing.<ref>{{Cite web|url=https://www.bbc.co.uk/programmes/articles/5qL5xhyzvBgjW1NrKLvTwkC/building-blocks-how-sean-scully-conquered-china|title=BBC Arts - BBC Arts - Building blocks: How Sean Scully conquered China|website=BBC|access-date=2019-12-17}}</ref> The exhibition included ''China Piled-Up'', a new monumental sculpture in corten-steel, and travelled from the [[Shanghai Himalayas Museum]] to the CAFA Art Museum in Beijing, to critical acclaim.<ref name=":4">{{Cite web|url=https://www.flaunt.com/content/art/sean-scully-retrospective-nanjing|title=Sean Scully|website=Flaunt Magazine|access-date=2019-12-17}}</ref> Another outdoor sculpture ''Boxes Full of Air'' was commissioned at Chateau La Coste in France.
[[File:Landline Orient by Sean Scully.jpg|thumb|''Landline Orient'', 2016. Private collection.|alt=|left]]

Scully participated in the [[Venice Biennale]] for the first time, in 2015, with the solo exhibition ''Land Sea'' at the [[Palazzo Falier]] in Venice.<ref>{{Cite web|url=https://artdaily.cc/news/78345/Major-exhibition-dedicated-to-Irish-artist-Sean-Scully-opens-at-Palazzo-Falier-in-Venice-#.XfgqWD3PyM8|title=Major exhibition dedicated to Irish artist Sean Scully opens at Palazzo Falier in Venice|website=artdaily.cc|access-date=2019-12-17}}</ref> The Museum Liaunig, in [[Neuhaus, Carinthia|Neuhaus]], Austria, opened its new building expansion with ''Sean Scully: Painting as an Imaginative World Appropriation''.<ref>{{Cite web|url=https://fineartbiblio.com/artworks/sean-scully/2517/wall-of-light-blue-black-sea|title=Wall of Light Blue Black Sea {{!}} Sean Scully {{!}} Fine Art Biblio|website=fineartbiblio.com|access-date=2019-12-17}}</ref> To honour his long-term friendship with art critic [[Arthur Danto]] who died in 2013, Scully published the book ''Danto on Scully,'' bringing together the series of five essays Danto had written on the artist over the previous 20 years.<ref>{{Cite book|url=https://books.google.com/books?id=NPARogEACAAJ|title=Danto on Scully|last=Danto|first=Arthur C.|date=2015|publisher=Dap-distributed Art|isbn=978-3-7757-3963-4}}</ref>

In 2015 Scully completed his restoration of the 10th Church of Santa Cecília de Montserrat in Spain, and opened it to the public. Commissioned by the [[Museum of Montserrat]] to make a holistic artistic intervention in the sacred space, Scully not only permanently installed paintings but worked on site-specific frescoes, and the design of the altar and cross. The chapel is now both a working church, and also the ''Espai d’Art Sean Scully''.<ref>{{Cite news|url=https://www.nytimes.com/2015/07/01/arts/international/sean-scully-painting-from-the-heart-to-the-heart.html|title=Sean Scully Fills a Spanish Monastery With Bursts of Color|last=Sharp|first=Rob|date=2015-06-30|work=The New York Times|access-date=2019-12-17|issn=0362-4331}}</ref> Scully was awarded the ''V Congreso Asociacion Protecturi'' for his contribution to Spanish religious heritage
[[File:Crate of Air by Sean Scully.jpg|thumb|''Crate of Air'', 2018. At the Inside Outside exhibition in [[Yorkshire Sculpture Park]] in 2018.]]
In 2016 Scully's second major exhibition in China, ''Sean Scully: Resistance and Persistence'', opened at the Art Museum of the [[Nanjing University of the Arts]], and travelled to the [[Guangdong Museum]] and the [[Hubei Museum]] in Wuhan.<ref name=":4" /> In the same year, as well as solo museum exhibitions in [[České Budějovice]], Czech Republic, and [[Valencia]], Spain, the artist put together two exhibitions of works from specific early periods in his private collection, one of works from the 1970s, in an off-site space in Ridgewood, Queens with Cheim & Read, and another of works from the 1980s with Mnuchin Gallery. Inspired by revisiting his earlier works, Scully began to reemploy techniques such as spray painting, which he first introduced in the late 1960s.

Over the course of 2015–2017, Scully's work expanded in two particular directions: sculpture and figuration. During this period, Scully began working on sculptural projects, including the ''Tower'' series using various materials such as [[Corten Steel|corten steel]], marble, and stainless steel, and the ''Stack'' series in both raw and painted steel were introduced. A new series of ''Block'' paintings was begun, in which Scully self-referenced his sculpture in paint. This new direction was the focus of the solo exhibition ''Wall of Light Cubed'' at Cheim & Read, NY.<ref>{{Cite web|url=https://brooklynrail.org/2017/05/artseen/Sean-Scully-cubed|title=Sean Scully Wall of Light Cubed|last=Goodman|first=Jonathan|date=2017-05-01|website=The Brooklyn Rail|access-date=2019-12-17}}</ref> Scully also revisited his early exploration in figuration from the late 1960s in a series of figurative paintings titled ''Eleuthera'' which was completed between 2015 and 2017. The series was inspired by Scully's son Oisin, and was named after the island of [[Eleuthera]] in the Bahamas and the feminine Greek adjective [[wikt:ἐλεύθερος|ἐλεύθερος]] (''eleútheros''), meaning "free".<ref>{{Cite web|url=http://www.bbc.com/culture/story/20191213-art-in-the-2010s-the-most-striking-and-shocking-images|title=Art in the 2010s: The most striking – and shocking – images|last=Grovier|first=Kelly|website=bbc.com|access-date=2019-12-17}}</ref>

=== 2018 ===
2018 saw Scully have a total of fourteen public exhibitions around the world. This included the installation of the monumental sculpture ''Boxes of Air'' in the Cuadra San Cristóbal, in Mexico City, along with paintings installed in the horse stalls of the iconic pink stable block. Other museum shows included: [[Multimedia Art Museum, Moscow]]; Hatton and Laing Galleries, Newcastle, UK; [[De Pont Museum of Contemporary Art]], Tilburg, Netherlands; [[State Russian Museum|Russian Museum]], St Petersburg, Russia; [[Staatliche Kunsthalle Karlsruhe]], Germany; [[Yorkshire Sculpture Park]], UK, among many others.<ref>{{Cite web|url=https://fineartmultiple.com/blog/sean-scully-paintings-sculptures-collection-quotes/|title=Fineartmultiple Art Magazine - Sean Scully's Paintings and Sculptures in His Own Words|website=fineartmultiple.com|access-date=2019-12-15}}</ref>
[[File:Opulent Ascension by Sean Scully.jpg|thumb|''Opulent Ascension'', 2019, sculpture. Basilica of San Giorgio Maggiore, Venice.]]
In 2019, the exhibition ''Sean Scully: Sea Star'' opened at The [[National Gallery, London]], showcasing Scully's work alongside works by [[J. M. W. Turner]].<ref>{{Cite news|url=https://www.theguardian.com/artanddesign/2019/apr/12/sea-star-sean-scully-review-national-gallery-london-turner-cobwebs|title='Turner gets his cobwebs blown away' – Sea Star: Sean Scully review|last=Jones|first=Jonathan|date=2019-04-12|work=The Guardian|access-date=2019-12-16|issn=0261-3077}}</ref> On 6 April 2019, director [[Nick Willing]]'s documentary film [[Unstoppable. Sean Scully & The Art of Everything]] aired nationally in the UK on [[BBC Two]]. For the [[58th Venice Biennale]], Scully presented ''Sean Scully: Human'' at the [[San Giorgio Maggiore (church), Venice|Basilica of San Giorgio Maggiore]], an exhibition of recent paintings and a new sculpture titled ''Opulent Ascension'' under the dome of the late Renaissance church by Andrea Palladio.<ref>{{Cite web|url=https://news.artnet.com/exhibitions/sean-scully-venice-1480021|title=Painter Sean Scully Is Planning a Deeply Personal Exhibition in a Venice Church That Will Pay Tribute to His Lost Son|date=2019-03-05|website=artnet News|access-date=2019-12-16}}</ref><ref>{{Cite web|url=https://hyperallergic.com/510079/reconciling-secular-art-in-sacred-spaces/|title=Reconciling Secular Art in Sacred Spaces|date=2019-07-20|website=Hyperallergic|access-date=2019-12-17}}</ref>