Currently featured at the Spring/Break Art Show at UN Plaza which will run until March 11th, Robin Kahn’s works immediately stand out for their originality, for being charged with emotions and feelings, and for intriguing the viewer with its dreamy impressionist style.
Robin Kahn is a feminist artist committed to expanding the traditional boundaries of art by exploring new strategies for engaging the public. Her commissions range from site-specific projects created for Documenta(13), Kassel; El Museo Nacional Centro de Arte Reina Sofia, Madrid; Kunstlerhaus Bethanien, Berlin; CAFA Art Museum, Beijing; and The Uruguay Biennial, Montevideo. Her paintings and artist books have been widely exhibited and are included in the collections at MoMA, The Whitney and The Brooklyn Museum in New York; as well as The Smithsonian’s Museum of Women in the Arts in Washington DC. Kahn is the recipient of several awards including a National Endowment Fellowship for the Arts.
Dearly Beloved, Loving Husband, Deepest Dearest, Happily Ever After…Words can never adequately express the emotional impact one experiences when aching from pain or loss, or tingling from joy or passion. Whether we are celebrating a family member’s birth or death, graduation or marriage, recovery or relapse, we whitewash the emotional impact of the event by couching it in the language of greeting card culture. Phrases that generically express pride, sympathy or sadness substitute for our often complicated, confused and overwhelmed feelings. By adopting general terms of endearment to talk about our loved ones, we create a sanitized portrait of our lives. We build a mythological version of our history where facts are edited and fantasy embellished within a carefully crafted patchwork of real and fictional events.
The works of Robin Kahn that explores the interplay of poetic readings that emerge when familiar terms of endearment are mixed with images of family life. Pictorial scrapes of burning chairs, tear filled clouds and stained bed sheets inject such pat phrases as “Mama’s Boy” and “Loving Wife” with a textured meaning, suggesting a rougher, less sanitized view of domestic bliss. The works playfully reshapes our personal myths, unmasking a less than perfect anatomy of family life. Like the popular adage ”she’s so good, you don’t even know she’s there”, a well kept home is one where all signs of domestic labor have been erased. Our project reverses this standard, exposing the blissful messiness of a well-lived life. There are no fairy tale endings here…but still…somehow it’s always comforting to learn how they all lived “Happily Ever After”. (
Adapted and Edited by Joseph Fraia – Pictures by Joseph Fraia



A proposito dell'autore

Post correlati


La tua email non sarà pubblicata