Lot 203
  • 203

Wyatt Kahn

Estimate
100,000 - 150,000 USD
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Description

  • Wyatt Kahn
  • Walker
  • signed and dated 2012 on the reverse of the backing board
  • raw canvas on shaped panel
  • 84 by 63 in. 213.4 by 160 cm.

Provenance

Hannah Barry Gallery, London
Acquired by the present owner from the above

Exhibited

New York, Bortolami Gallery, A Chromatic Loss, January - February 2014

Condition

This work is in very good condition overall. There is evidence of light wear and handling to the sides and turning edges of the canvas panels. There is a very minor abrasion at the bottom left corner. Unframed.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Catalogue Note

Wyatt Kahn’s Walker is a rivetingly rebellious fusion of monochromatic, minimalist painting and provocative, abstract sculpture. It is only when the three-dimensional forms of the multiple raw canvases are bolted together that they visually flatten out and become the individual compounding features of a two-dimensional plane. Similar to Frank Stella’s intentions of constructing irregularly shaped canvases in an effort to force the illusionistic space out of a painting and create a flat painted object, Kahn follows in this minimalist tradition while making innovative strides towards disrupting the stasis of the picture plane.

Kahn's work creates a powerful interplay between structure, surface and composition through his experimentation with negative space and adjoining geometric panels. In Walker, the resulting kaleidoscopic composition, retains a distinctly anthropomorphic quality; complete with a compelling central void and a network of abstract lines that demarcate the borders between canvases, the result is a juxtaposing force of dynamic movement and elegant stillness. The ultimate effect created is a beautiful tension of fragility and dynamism whose sophisticated formal chemistry interacts with each viewer in a unique way.