David Zwirner opened its exhibition at 537 West 20th Street Scott Kahn’s “Silent Night” in New York. The exhibition, which will last 17 October, combines new and close-term landscape images from the latest quarter century production of painter at the age of sex. Kahn defines landscape not a geography, as “a means of expressing a mood”; this perspective comes back to our moonlight, closed windows and in-house silence in every canvas in the exhibition.
Kahn’s story is one of the late recognition of art world. After receiving picture training in Rutgers, the artist who directed to figurative landscape from abstract expressionism was far from visibility in the middle of 2000s. The return point came in 2018: Matthew Wong, a younger name than him, was considered among the most important effects by buying and sharing a table of Kahn. Despite the early death of Wong in 2019, this recognition was permanent; Kahn was previously exhibited at Almine Rech, then joined the Zwirner family in 2024.
In the exhibition “The Basement Window” is a profitable, moonlight scene inspired by the “Silent Night, Moon” artist’s own garden. The last room is completely divided into new jobs dated 2026. The exhibition, which varies from 350 thousand to 1 million dollars, is one of the rare examples, showing how a foreign production can turn into an art market event quietly.
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