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Scott Kahn: Afternoon of a Faun

February 18 - March 20, 2021

 

 

Harper’s Chelsea, 534 West 22nd Street • Harper’s Apartment, 51 East 74th Street

Head-Image

Scott Kahn, Afternoon of a Faun, 1986

Harper’s is pleased to present Afternoon of a Faun, two concurrent solo exhibitions of historic and new paintings by Scott Kahn at the gallery’s New York City locations: Harper’s Chelsea, 534 West 22nd Street, and Harper’s Apartment, 51 East 74th Street. In tandem with these shows, ATM Gallery, 54 Henry Street, will host a selection of portraits produced by Kahn over the last several decades. Together, the three exhibitions will result in the most comprehensive presentation of Kahn’s oeuvre to date, providing the public a broad overview of his unique approach to combining naturalistic painting with surrealist iconography. 

Afternoon of a Faun takes its name from Kahn’s 1986 painting of the same title, which depicts a forward-facing figure in a hazel-toned unitard holding another in white lace, horizontally outstretched and enshrouded in a faint, milky aura. The two pose atop a curious open-air platform on a serene summer day. At once ghostly and tranquil, Afternoon of a Faun sets a surreal tone that permeates throughout the selection of fourteen paintings included in the exhibitions. Kahn seamlessly blends interior and exterior worlds to create intricately detailed dreamscapes, giving shape to the elusive character of the subconscious through natural forms. In contrast to the enigmatic vignettes conjured by emotions, memories, and fleeting impressions, all elements in his scenes are executed with fastidious precision; each blade of grass, star in the sky, and ripple in the sea is tidily rendered, suggesting a sensuous lucidity to these otherworldly realms. 

When figures are included in Kahn’s paintings, rest and meditation are recurring themes that further play into his surreal, hypnagogic worlds. Often nude and in repose, such as in Asleep, or in introspective isolation such as in Limbo, his tender figures appear to be subsumed by the environment surrounding them. Even with Kahn’s landscape paintings, nature engulfs every human-made structure within it. In Sunset from the Attic and Dusk, sinuous tree branches overrun the picture plane while architectural facades are swallowed by viridescent foliage, leaving illuminated windows peering from the dense web. Kahn’s symbolic language and meticulous brushwork accentuate the porous threshold between fantasy and reality, inviting the audience to suspend such distinctions themselves.

Video-Show

Scott Kahn: Afternoon of a Faun - installation view

Scott Kahn: Afternoon of a Faun

Harper's Chelsea

Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view

Thumb-Show

Thumb-Show Thumbnails
Scott Kahn, Spring Path, 2016

Scott Kahn
Spring Path
2016
Oil on linen
12 x 9 in

Scott Kahn, Dawn, 2020

Scott Kahn
Dawn
2020
Oil on panel
16 x 20 in

Scott Kahn, Thunderstorm 1, 2020

Scott Kahn
Thunderstorm 1
2020
Oil on panel
24 x 20 in

Scott Kahn, Winter Sunset, 2020

Scott Kahn
Winter Sunset
2020
Oil on panel
14 x 18 in

Scott Kahn, Queen's Park, 1998

Scott Kahn
Queen's Park
1998
Oil on linen
30 x 36 in

Scott Kahn, Limbo, 1986

Scott Kahn
Limbo
1986
Oil on linen
57 x 53 in

Scott Kahn, ​Dusk, 2020

Scott Kahn
Dusk
2020
Oil on panel
16 x 12 in

Scott Kahn, Resting by the Stream, 1985

Scott Kahn
Resting by the Stream
1985
Oil on linen
36 x 36 in

Scott Kahn, Asleep, 1984

Scott Kahn
Asleep
1984
Oil on linen
41 x 47 in

Scott Kahn, The Island, 1998

Scott Kahn
The Island
1998
Oil on linen
30 x 36 in

Scott Kahn, Afternoon of a Faun, 1986

Scott Kahn
Afternoon of a Faun
1986
Oil on linen
96 x 96 in

Scott Kahn, Resting, Waiting, 2004

Scott Kahn
Resting, Waiting
2004
Oil on linen
24 x 28 in

Scott Kahn, Sunset from the Attic, 2018

Scott Kahn
Sunset from the Attic
2018
Oil on linen
48 x 56 in

Scott Kahn, Ingersoll's Branch, 1989

Scott Kahn
Ingersoll's Branch
1989
Oil on linen
96 x 96 in

Scott Kahn, Spring Path, 2016

Scott Kahn
Spring Path
2016
Oil on linen
12 x 9 in

Scott Kahn, Dawn, 2020

Scott Kahn
Dawn
2020
Oil on panel
16 x 20 in

Scott Kahn, Thunderstorm 1, 2020

Scott Kahn
Thunderstorm 1
2020
Oil on panel
24 x 20 in

Scott Kahn, Winter Sunset, 2020

Scott Kahn
Winter Sunset
2020
Oil on panel
14 x 18 in

Scott Kahn, Queen's Park, 1998

Scott Kahn
Queen's Park
1998
Oil on linen
30 x 36 in

Scott Kahn, Limbo, 1986

Scott Kahn
Limbo
1986
Oil on linen
57 x 53 in

Scott Kahn, ​Dusk, 2020

Scott Kahn
Dusk
2020
Oil on panel
16 x 12 in

Scott Kahn, Resting by the Stream, 1985

Scott Kahn
Resting by the Stream
1985
Oil on linen
36 x 36 in

Scott Kahn, Asleep, 1984

Scott Kahn
Asleep
1984
Oil on linen
41 x 47 in

Scott Kahn, The Island, 1998

Scott Kahn
The Island
1998
Oil on linen
30 x 36 in

Scott Kahn, Afternoon of a Faun, 1986

Scott Kahn
Afternoon of a Faun
1986
Oil on linen
96 x 96 in

Scott Kahn, Resting, Waiting, 2004

Scott Kahn
Resting, Waiting
2004
Oil on linen
24 x 28 in

Scott Kahn, Sunset from the Attic, 2018

Scott Kahn
Sunset from the Attic
2018
Oil on linen
48 x 56 in

Scott Kahn, Ingersoll's Branch, 1989

Scott Kahn
Ingersoll's Branch
1989
Oil on linen
96 x 96 in

Slide-Show

Slide-Show Thumbnails
Scott Kahn: Afternoon of a Faun - installation view

Scott Kahn: Afternoon of a Faun

Harper's Apartment

Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view

Scott Kahn: Afternoon of a Faun

Harper's Apartment

Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view
Scott Kahn: Afternoon of a Faun - installation view
Press

REVIEW
by Evan Pricco for Juxtapoz

 

 

"Further into his decades of practice are stunning images of forests and countryside homes, tucked away underneath foliage, alive with light but still "ghostly" in their own way. There is a lot of fantasy to embrace here, with the subtle brushstrokes almost calming and supernatural. What is apparent is consistency, from the mid-1980s to these recent works, Kahn is working on a special, unique universe, one of which is so nicely and poignantly presented this month."

 

 

Click here to read more

Scott Kahn (b. 1946, Springfield, MA) received a BA from the University of Pennsylvania in 1967, and an MFA from Rutgers University in 1970. Over the course of a five decade-long career, Kahn’s work has been exhibited at Francois Ghebaly, Los Angeles (forthcoming); Harper's, East Hampton; Nicelle Beauchene Gallery, New York; Katharina Rich Perlow Gallery, New York; Alexey von Schlippe Gallery, University of Connecticut, Groton, CT; Arthur Ross Gallery, University of Pennsylvania, Philadelphia; Holyoke Museum, Holyoke, MA; Albright-Knox Museum, Buffalo, NY; and the Aldrich Museum, Ridgefield, CT; among other venues. Kahn’s work is included in numerous public collections including Chase Manhattan Bank, New York; United Airlines, Dulles International Airport, Washington, DC; and Décor Heytens Belgique, Wavre, BE. He was awarded Pollock-Krasner Foundation grants in 1986 and 1995, and participated in residencies at the Albee Foundation, Montauk, NY; and the Mosaic Colony, Southampton, NY. Kahn is currently based in New Rochelle, New York.