Wolf Kahn Lecture: Control & Letting Go

October 11, 2014
An honorary trustee of BMAC, Wolf Kahn is a leading figure in American art. His rich, expressive body of work represents a synthesis of his modern abstract training with Hans Hofmann, the palette of Matisse, Rothko’s sweeping bands of color, and the atmospheric qualities of American Impressionism. Kahn has received many honors and awards, and his work is held in the collections of major museums worldwide.
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To purchase DVDs of this lecture, please contact BMAC at [phone], ext. 101 or stop by the museum.

[@3243_]

Wolf Kahn and Emily Mason are inspirations to me, not only as painters, but also for the fact that they have stayed together for so long as a married couple and are still together. That gives me hope.

[@Arthur-ek7nd]

Wolf is my grandfather. He and Emily were both amazing painters and great grandparents. Very loving family to grow up in.

[@pleinaire8698]

Wolf Kahn and his awesome oil paintings that explode with light and color inspired me to get back to oil painting in 1997 when he visited Reno's NEVADA MUSUEM of ART!!!THANK YOU WOLF!!

[@andrewwalkerpatterson3843]

Thanks for posting this, I've enjoyed his paintings for years but this lecture really gave me a sense of him as an artist and enhanced my enjoyment of his work.

[@kikeheebchinkjigaboo6631]

I love close of the artist.

[@mylesjordan9970]

The David Soyer anecdote is interesting in that, because he was part of a great string quartet, his dedication to specifically performative clarity, times four, came off as a kind of tyranny. One assumes that that’s especially true in the context of a talk on loose brushwork, the flow of experimentation, etc.-but for a performing musician, the word “amateur” is a very loaded one (George Bernard Shaw’s famous quip, “Hell is full of musical amateurs,” from “Man and Superman” illustrates the case vividly enough). You bring up an important divergence in fundamental aims between the creative and re-creative or interpretative arts. There’s a big difference between musical amateurs and professionals-and a huge gulf between amateurs and artists-that’s immediately and painfully obvious to audiences, no matter how uninitiated. Van Gough’s lousy drawing skills are viewed as unimportant, but playing out of tune is.