Miriam Cahn, ‘L.I.S. die vögel, die mich heute morgen riefen, 23.9.87’, 1987, Barbara Gross
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Miriam Cahn

L.I.S. die vögel, die mich heute morgen riefen, 23.9.87, 1987

7 sheets, charcoal on paper signed verso on last sheet, dimensions variable
27 3/5 × 196 9/10 in
70 × 500 cm
.
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Location
Munich
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About the work
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Miriam Cahn
Swiss, b. 1949
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Miriam Cahn makes intimate, haunting paintings and drawings of semi-ambiguous figures, animals, and landscapes imbued with quiet emotion. Influenced by the black-and-white images she was exposed to through early television and reproductions in art history textbooks, Cahn used only black, white, and shades of gray in her early work. She began using color in 1994, turned on to the formal and psychological power of mass media imagery and its gradual saturation. She cites Michelangelo Antonioni’s 1964 film Il deserto rosso (Red Desert) as a work that exposed her to the hyper-reality of color. With exquisite sensitivity, Cahn uses color to highlight choice parts of her figures—principally the genitals, breasts, lips, or eyes—suggesting fragility and fecundity and endowing her figures with a sense of inner life.

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Miriam Cahn, ‘L.I.S. die vögel, die mich heute morgen riefen, 23.9.87’, 1987, Barbara Gross
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Save
Save
View
View in room
Share
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About the work
Medium
Frame
Not included
Miriam Cahn
Swiss, b. 1949
Follow

Miriam Cahn makes intimate, haunting paintings and drawings of semi-ambiguous figures, animals, and landscapes imbued with quiet emotion. Influenced by the black-and-white images she was exposed to through early television and reproductions in art history textbooks, Cahn used only black, white, and shades of gray in her early work. She began using color in 1994, turned on to the formal and psychological power of mass media imagery and its gradual saturation. She cites Michelangelo Antonioni’s 1964 film Il deserto rosso (Red Desert) as a work that exposed her to the hyper-reality of color. With exquisite sensitivity, Cahn uses color to highlight choice parts of her figures—principally the genitals, breasts, lips, or eyes—suggesting fragility and fecundity and endowing her figures with a sense of inner life.

Miriam Cahn

L.I.S. die vögel, die mich heute morgen riefen, 23.9.87, 1987

7 sheets, charcoal on paper signed verso on last sheet, dimensions variable
27 3/5 × 196 9/10 in
70 × 500 cm
.
Sold
Location
Munich
Want to sell a work by this artist? Consign with Artsy.
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