Artist: Scott Kahn
Almine Rech | Paris, Matignon presents Scott Kahn’s first solo exhibition with the gallery.
Oil on linen
1524.0 × 1219.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Doorways, 1988
Oil on linen
1981.0 × 1676.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Storm Coming, 1984
Oil on linen
1372.0 × 1372.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Oil on linen
508.0 × 432.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Oil on linen
711.0 × 711.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Waning Moon, 2021
Oil on panel
711.0 × 610.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
The Well, 2001
Oil on linen
711.0 × 610.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Oil on linen
864.0 × 762.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Gina's Studio, 1979
Oil on cotton canvas
914.0 × 813.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Tree of Life, 2009
Oil on linen
762.0 × 813.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Oil on linen
1981.0 × 1829.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
Summer Sun, 2021
610.0 × 508.0 mm
© Scott Kahn - Courtesy of the Artist and Almine Rech - Photo: Ana Drittanti Zip
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Every day, Scott Kahn paints what he calls his ‘visual diary.’ His itinerary is quite peculiar in that he has never abided by the schools highlighted in common narratives on American Modern art (be it Abstract Expressionism, Minimal art, or Conceptual art, to name a few). Yet, his own path led him to cross several moments of that history, synchronously and asynchronously.
From the world of the first generation of the New York School around which he gravitated while attending Theodoros Stamos’ class at the Art Students League, to the so-called grid painters, and finally culminating in adopting a representational mode of painting and moving to Sag Harbor in the late 1970s, Scott Kahn’s ‘visual diary’ stands as a testimony of a life in painting. In his own words, he paints from life, which does not mean that he solely paints what he beholds, rather, it hints at how every strain of his life feeds into his art. Scott Kahn feels himself to be an American painter; a sentiment he finds in New England architecture for instance—whose houses he likes for their honesty, straightforwardness, and classical references—and realizes by making pictures based on components that share the same primal, foundational, elementary qualities: the moon, sun, day, night, dark, light.
— Théo de Luca, Author, Yale University