Steve Kahn: The Hollywood Suites, the artist’s first museum exhibition and one of the first exhibitions since his untimely death earlier this year, presents his recently rediscovered conceptual photographic series from the 1970s. Begun in 1974 as a directorial essay in staged photography, The Hollywood Suites grew out of Kahn’s work on Photo-Bondage, an S&M fetish magazine he worked on to make ends meet during the 1973–1975 recession. With his new series, Kahn intended to transcend pornography in order to explore issues of dehumanization and alienation. Ultimately, he achieved this through photographs with no tangible human presence. He came to focus on scuffed doors and walls adorned with pieces of banal hotel-room art, mismatched curtains framing windows overlooking bland cityscape, and haunting outlines of mirrors long since broken or removed. In this exhibition, the Fine Arts Museums will present artifacts, such as Polaroids and contact sheets, of Kahn’s working process, demonstrating the meticulousness of his approach and growing abstraction in his work.Steve Kahn: The Hollywood Suites, the artist’s first museum exhibition and one of the first exhibitions since his untimely death earlier this year, presents his recently rediscovered conceptual photographic series from the 1970s. Begun in 1974 as a directorial essay in staged photography, The Hollywood Suites grew out of Kahn’s work on Photo-Bondage, an S&M fetish magazine he worked on to make ends meet during the 1973–1975 recession. With his new series, Kahn intended to transcend pornography in order to explore issues of dehumanization and alienation. Ultimately, he achieved this through photographs with no tangible human presence. He came to focus on scuffed doors and walls adorned with pieces of banal hotel-room art, mismatched curtains framing windows overlooking bland cityscape, and haunting outlines of mirrors long since broken or removed. In this exhibition, the Fine Arts Museums will present artifacts, such as Polaroids and contact sheets, of Kahn’s working process, demonstrating the meticulousness of his approach and growing abstraction in his work.
Mexican and Latino Art Museum | San Francisco | In Association With The Smithsonian Institution - Th
Fort Mason Center, 2 Marina Blvd., Building D
San Francisco
Steve Kahn: The Hollywood Suitesde Young Museum | de Young Main address:
de Young Museum | de YoungWells Fargo Center50 Hagiwara Tea Garden DriveCA 94118San Francisco, الولايات المتحدة الأمريكيةde Young Museum | de YoungWells Fargo Center50 Hagiwara Tea Garden DriveCA 94118San Francisco, الولايات المتحدة الأمريكيةSteve Kahn: The Hollywood Suites, the artist’s first museum exhibition and one of the first exhibitions since his untimely death earlier this year, presents his recently rediscovered conceptual photographic series from the 1970s. Begun in 1974 as a directorial essay in staged photography, The Hollywood Suites grew out of Kahn’s work on Photo-Bondage, an S&M fetish magazine he worked on to make ends meet during the 1973–1975 recession. With his new series, Kahn intended to transcend pornography in order to explore issues of dehumanization and alienation. Ultimately, he achieved this through photographs with no tangible human presence. He came to focus on scuffed doors and walls adorned with pieces of banal hotel-room art, mismatched curtains framing windows overlooking bland cityscape, and haunting outlines of mirrors long since broken or removed. In this exhibition, the Fine Arts Museums will present artifacts, such as Polaroids and contact sheets, of Kahn’s working process, demonstrating the meticulousness of his approach and growing abstraction in his work.Steve Kahn: The Hollywood Suites, the artist’s first museum exhibition and one of the first exhibitions since his untimely death earlier this year, presents his recently rediscovered conceptual photographic series from the 1970s. Begun in 1974 as a directorial essay in staged photography, The Hollywood Suites grew out of Kahn’s work on Photo-Bondage, an S&M fetish magazine he worked on to make ends meet during the 1973–1975 recession. With his new series, Kahn intended to transcend pornography in order to explore issues of dehumanization and alienation. Ultimately, he achieved this through photographs with no tangible human presence. He came to focus on scuffed doors and walls adorned with pieces of banal hotel-room art, mismatched curtains framing windows overlooking bland cityscape, and haunting outlines of mirrors long since broken or removed. In this exhibition, the Fine Arts Museums will present artifacts, such as Polaroids and contact sheets, of Kahn’s working process, demonstrating the meticulousness of his approach and growing abstraction in his work. Book tickets
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