Tag Archives: Wyatt Kahn


The new print issue of PARIS LA—a tenth-anniversary special devoted to fashion and writing—is now available.

PARIS LA 16 includes interviews with Hilton Als, Chris KrausInes Kaag and Desiree Heiss of BlessTisa BryantFlorence MüllerMalik Gaines, Q.M. ZhangCommes des Garçons’ Adrian Joffe, Anelise Chen, and Bice Curiger and Jacqueline Burckhardt of Parkett.

Massimiliano Mocchia di Coggiola contributed an essay with artwork on dandyism, Ramon Hungerbühler and Fabian Marti talk about skate brands, there are pieces on Setsuko Klossowska de Rola, and Pierre Davis and No Sesso, Anne Dressen has written about contemporary jewelry…

… and portfolios and portraits by Cédric Rivrain, Cassi Namoda, David Benjamin Sherry, Wyatt KahnTobias Madison, Item IdemJean-François Lepage, Todd ColeMarie Angeletti, Will Benedict, and Katerina Jebb—who created the Michèle Lamy cover and a poster of Marisa Berenson—grace the issue.

Also: a reprint of Iris Marion Young’s landmark essay “Women Recovering Our Clothes.”


PARIS LA 16, published by DoPe Press.

Above: Inside covers, production PDF.

Below: Front and back covers, production PDF.


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THE RIPPLE EFFECT pairs the work of Jay DeFeo with eleven younger artists—Trisha Donnelly, Sam Falls, Rachel Harrison, Wyatt Kahn, Ron Nagle, Gay Outlaw, Tobias Pils, R. H. Quaytman, Ugo Rondinone, Bosco Sodi, and Oscar Tuazon—in an exhibition in Aspen.

Co-organized with Le Consortium in Dijon, the Aspen Art Museum show is curated by Franck Gautherot and Seungduk Kim, with the participation of The Jay DeFeo Foundation in Berkeley.


JAY DEFEO—THE RIPPLE EFFECT, through October 28.

ASPEN ART MUSEUM, 637 East Hyman Avenue, Aspen.


Above: The Ripple Effect installation view. Photograph by Tony Prikryl .
Below: Jay DeFeo, Untitled, part of the Eternal Triangle series, 1980. Image credit: Aspen Art Museum.
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For his new show at Eva Presenhuber—his second with the gallery—WYATT KAHN has reproduced eight of his earlier linen works in milled lead.

“Taking his prior compositions as a lexicon of forms to be reworked, Kahn here has swapped out the refined, pale surfaces of his older works for the darkness of elemental metal. The sheet lead Kahn employs reveals the marks of its machine milling in shifting gray surface striations, augmented by the occasional prismatic shimmer.”*

In addition, the exhibition includes nine new silver gelatin prints of domestic items—a lighbulb, a comb, a clock, a telephone, etc. “Partially obscuring the image are…out-of-focus [lines and shapes]…which have been superimposed not via digital editing, but physically: Kahn drew simple geometric designs on a clear lens filter and shot the image through its intervening composition.”*

In conjunction with the show, the monograph WYATT KAHN (2017)—with a text by Afterall, Art Review, and Parkett contributor Terry R. Myers—has been co-published by Galerie Eva Presenhuber, Zürich; Xavier Hufkens, Brussels; and JRP/Ringier, Zürich.

WYATT KAHN, through July 15.

GALERIE EVA PRESENHUBER, Löwenbräu Areal, Limmatstrasse 270, Zürich.


(From top): Wyatt Kahn, detail of Untitled, 2016, lead on panel; image from Wyatt Kahn monograph; Untitled, 2017, silver gelatin print; Untitled, 2016; Untitled, 2017; Untitled 2016. All images courtesy of Wyatt Kahn, Galerie Eva Presenhuber, and the publishers of Wyatt Kahn.

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