At times, a person’s most significant fortune may come in the form of another individual. Such was the case for Scott Kahn, an American artist who devoted decades to his craft with little acknowledgment, until one day in his early seventies, he was contacted on Instagram by another artist named Matthew. Matthew Wong, a budding Canadian artist much younger than Scott, lived a somewhat solitary life with only his brushes and his mother as companions. Yet with Scott, there was a unique connection; he recognized something compelling in the stranger’s artwork, perhaps a kindred spirit.
Matthew’s career was on the rise, yet he felt a kinship with Scott’s journey: both seeking meaningful connections beyond their art. This shared understanding forged a genuine friendship between them. Moved by Scott’s work, Matthew purchased one of his paintings, “Cul de Sac,” a mysterious nighttime scene. Displayed prominently in Matthew’s dining room, the painting became a symbol of their friendship when Matthew shared it on Instagram, tagging Scott. Tragically, soon after that post, Matthew took his own life, and, incidentally, Scott’s career took off.
When talking to Scott today, he doesn’t seem like the “million-dollar baby” that his recent announcement of joining David Zwirner’s gallery and the related market prices might suggest. Rather, he is a person of substance and depth: a cultured individual who delights in discussing not only his art but also subjects like ballet, classical music, and philosophy. Evidently, Scott also loves to talk about his art, though not in a manner one might expect after achieving such success. Instead, his humility is evident as he modestly shares the narratives behind each painting, seeing his art as a reflection of his life journey. Every stroke carries with it an experience, an emotion, offering a window into the life of a contemplative artist, a glimpse of the life of a dreaming man. Scott seems to be smiling at Fortuna, as if the success is just a side dish, while his art remains the main course, or rather the whole tasting menu. Portraits, faces, landscapes, interiors – they all evoke in Scott a memory, a friend, a feeling, with an almost ekphrastic continuity with Scott’s words – what you see is what he lived, a visual diary.
During our extensive interview at his Dumbo studio and New Rochelle home, we delved into Scott’s journey, artistic vision, market dynamics, and ongoing projects. In our conversation, we explored the evolution of his artistic style from abstraction to figuration. Scott reflected on his journey, from the influence of artists like Stella, Noland, and Frankenthaler, to then discussing the pivotal moment when he decided to break away from derivative trends to find his authentic voice. This transition marked a significant turning point in Scott’s artistic exploration, leading to a deeper connection with his work and a more profound expression of his personal narrative.
We also discussed the complexities of the art market, particularly the disparity between primary and secondary markets. Scott shared his perspective on pricing negotiations, highlighting his firm stance against undervaluing his creations for potential resale profits. We discussed the case of Art Basel Miami, where Scott’s large-scale landscape painting was put for sale for over a million dollars by a collector who had initially purchased it from him for a fraction of the price. This example illuminated the challenges artists face in benefiting from their rising market values amidst the rampant flipping and exploitation often seen in the secondary market.
Through these conversations, we gained valuable insights into Scott’s artistic journey and the broader landscape of the contemporary art market. Notably, he also shared insights into his co-production with long-time partner Fred Kirwin on the movie “Dog Bites Man,” recently released on Prime Video, which reflects his multifaceted artistic endeavors. Scott candidly critiques the contemporary artistic landscape, emphasizing the importance of his guiding principles throughout his artistic evolution.
Interviewer: Your painting style is very unique and poetic; your works really exude detail and obsession, which have developed throughout your life and production. How did your style develop over time?
Artist: I’m trying to let go of obsession; it bogs me down in terms of time and work. When I imply details rather than painting them realistically and painstakingly, it adds to the poetry of it. Over the years, my perspective on technique and approach has evolved. I believe it’s through discarding details and reducing experience to its essence that you find the poetry and life of things. Size and accurate depiction are simply replication; there’s no value in mere illustration. My hope is that even when mimicking life, there’s depth and narrative in my work, not just an emotionless illustration.
Interviewer: Your approach to art emphasizes the necessity and compulsion to paint. Could you elaborate on how this internal drive shapes your creative process and how you believe it translates into a compelling experience for the viewer?
Artist: Certainly. For me, the act of painting is driven by a deep sense of necessity and purpose. I am not motivated by technique or aesthetics; there has to be a compelling reason to create. This internal drive guides my creative process, influencing everything from the choice of subject matter to the application of form, light, and color. When I’m compelled to paint, it becomes a journey into another world, creating an illusion that invites the viewer to enter my artistic realm.
As a young person, I was drawn to the Renaissance artists who had a remarkable ability to transport viewers into an imaginary world through their mastery of perspective, form, light, and color. Their works had a magnetic quality that pulled me in, offering a sense of mystery and emotion. To this day, I seek to achieve a similar connection with my audience by instilling a sense of necessity and creating an immersive experience in my paintings.
Interviewer: How did you develop over many decades of production as an artist?
Artist: I see artistic expression as an integral part of who we are, much like DNA. It’s inherent, and as with any natural process, it takes time for it to unfold and reveal itself. When it comes to painting, I believe the essence is there from the very beginning, although some may prematurely label a piece as “finished.” For me, it’s like giving birth, and I refrain from declaring a painting complete right from the start. My work is essentially a visual diary of my life. I need to live and experience before I can express through painting. Jumping from one painting to another without taking the time to absorb life’s inspirations doesn’t align with my process. It’s a more deliberate and autobiographical approach, allowing me to reflect my responses to life in my work.
Interviewer: You emphasize the necessity of artistic expression. How does necessity play a role in your work?
Artist: Necessity is crucial in art, especially in today’s often frivolous and entertainment-driven culture. Serious artistic research and development, driven by a personal need to express and interpret unfolding events, contribute to a necessary and impactful artistic production. This necessity is often lacking in the work of younger artists, who may view art more transactionally, as a product for the market. The current emphasis on art as a product, driven by a consumeristic mindset, is detrimental to true artistic expression.
In my early days, I immersed myself in the abstract realm, experimenting with various techniques popular at the time, such as grid painting inspired by artists like Frankenthaler, Stella, and Noland. I was simply following what was trendy back then, and this is not unusual for a young artist. However, I felt confined by the categorization of being a grid painter. I realized I needed to break away from derivative elements to find my true voice. So, I discarded the grid and embarked on an organic process of self-discovery. It was a pivotal moment when I decided to discard the grid, creating a void that initially felt daunting. Yet, as the saying goes, nature abhors a vacuum, and the void began to fill.
Interviewer: What prompted the shift from abstraction to realism, and how did this transition impact your artistic identity?
Artist: The shift from abstraction to realism was a transformative period in my artistic journey. When I met Fred, he encouraged me to break away from abstraction, urging me to find my unique voice. This process of shedding derivative elements was both challenging and liberating, ultimately leading me to a more organic and personal artistic expression. Furthermore, the abstract mode was not reflecting what was happening in my life – it felt irrelevant. I was living on the Bowery; I was robbed; there was blood on the sidewalk from nighttime brawlers.
Interviewer: An important part of your production is dedicated to the portraiture of people that are part of your life at any given point. How do your life events contribute to your artistic process?
Artist: Painting people, portraits, and investigating their inner life solve a big problem for me. The subject matter is given. Sometimes waiting between paintings or life to provide inspiration is a challenge. I feel like I’ll never paint another picture! But life is dynamic, not static – and so the inspiration comes. I know I will, but the ‘in between’ is always uncomfortable.
Interviewer: Moving on to your influences, we can make a clear comparison to Van Gogh. Can you discuss how his approach to painting life as he experienced it resonates with your own artistic journey? You recently went to see the opening of the new Matthew Wong show at the Van Gogh Museum. What did you think?
Artist: Van Gogh’s approach to painting life as he lived it is something I relate to deeply. Life is dynamic, not static, contributing to the variety in my work. I don’t see myself as a one-note painter but more of a symphonic painter. Recurrent themes, like those in Van Gogh’s works, can be analyzed to understand the nuances of his psychological experience of life. The show in Amsterdam was amazing. I managed to see a lot of works by Matthew that I hadn’t seen before, and of course, Van Gogh. There was a handful of Van Gogh’s to show the relationship and reference in Matthew’s work. But it was truly a retrospective for Matthew.
Interviewer: Speaking about Matthew Wong, he certainly had a great impact on your life and career. Can you tell us more about that?
Artist: Matthew and I connected on Instagram. We developed a friendship based on artistic and spiritual connection. We shared a deep respect for each other’s work. Matthew’s visit to my studio and the attention he brought to my work through social media had a profound impact. It drew significant interest from dealers, collectors, and fellow artists. He bought one of my paintings, “Cul de Sac,” and featured it on his Instagram feed. That was the catalyst for the increased visibility of my work. The exposure created a snowball effect, leading to a resurgence in my career, which had been dormant for 15 years. I was living in my cousin’s attic. I thought I would die in obscurity and poverty.
Matthew’s actions certainly had an incredible impact on my career; it wasn’t something I expected or foresaw. His genuine appreciation for my work and the exposure he gave me were unexpected turns of events that significantly altered the trajectory of my career. The quick influx of attention led to a rapid sale of decades’ worth of work in just three years. Collectors and the wider public thought I was a prolific painter when actually I have become a slow painter. It would take decades for me to replace those paintings I sold in 3 years.
Interviewer: Reflecting on your artistic journey and being rediscovered later in life, how does it feel to have your work appreciated and acknowledged, especially after a period of obscurity?
Artist: It’s been a totally unexpected experience for me to be rediscovered later in life. I am grateful to still be alive to achieve a level of recognition I never expected. Despite the challenges and obscurity, I stayed true to my art. Many people find inspiration in my story because it emphasizes the importance of remaining committed to your vocation.
(At some point in our conversation, Scott began hanging old works laying around his studio, and we started talking about them:)
Artist: I love this painting, “Circular Drive.” It is a great example of my obsession with detail: I was painting countless blades of grass at that time. The painting is circular, but it has an exit, symbolizing life’s path. It’s a personal journey with spiritual connections, even if it’s a solo journey in your head. The artwork expresses experiences then and now, evolving in style and simplicity.
Interviewer: Can you share the story behind your early portrait, the one you consider the first painting after the shift from abstraction?
Artist: This portrait holds a special place for me. It’s the very first painting I made when I transitioned from abstraction to representation. The canvas, painted on cotton, is in quite a deteriorated state, but there’s a certain charm to its imperfections. It’s like a visual chronicle of uncertainty and the questioning gaze of someone embarking on a new artistic journey.
Interviewer: What about this other self-portrait of yours?
Artist: Of course. The figure in the painting, an androgynous representation of myself, fetal in form, is symbolic of rebirth and renewal. Paintings should communicate with clarity and directness, hitting the viewer without any barriers. I wanted this portrait to evoke a powerful emotional response, much like the impact of great art or profound music.
Interviewer: The third painting featuring a silhouette at sea strikes me as truly enigmatic. Tell me more about it.
Artist: It’s the universality of such representations that resonates. This figure could be anyone, a symbol of humanity set against the vastness of the universe. It poses a question about our place in this cosmic expanse—standing on land, facing the sea and sky. The ambiguity of the figure’s orientation adds layers of interpretation. Initially, one might see it as looking toward the horizon, but upon closer inspection, there’s a sense that it could be directed toward the viewer.
Interviewer: Getting back to more mundane topics, how has financial stability influenced your approach to art and your overall well-being?
Artist: Financial stability has brought a sense of security to my life, relieving the stress that comes with poverty. However, I acknowledge that money alone cannot buy happiness. Even during times of financial difficulty, I found solace in my art. Now, with the added security, I appreciate the importance of staying true to my artistic principles and not letting financial considerations dictate my creative decisions. However, balancing the demands of the world and the dedicated time needed for painting can be challenging. I admit to feeling frustrated at times, especially when external distractions interfere with my creative process. While I’ve made progress in disciplining myself and prioritizing my work, it remains an ongoing struggle. Despite these challenges, the time spent actually painting is a cherished and essential part of my daily life.
Interviewer: How has the change in your fame impacted your market?
Artist: I’ll give you a clear example. During the last edition of Art Basel Miami, Almine Rech brought a large-scale landscape of mine. I sold that painting four years ago for $20,000, and, actually, the buyer bargained the price down from $25,000. He was selling it at the fair for over 1 million dollars, and what was I getting? Nothing. I actually got back in touch with the collector, and he told me he was selling it to buy his daughter a condo. There is always a reason, but at the end of the day, as an artist, I cannot get much benefit from all the flipping going on in the secondary market!
Interviewer: Do you have an independent manager or adviser you seek advice from?
Artist: Yes, I have Fred, my partner. He is the only person I trust unconditionally. We have been together for 45 years, but only recently got married during Covid in a Zoom ceremony!
Interviewer: Speaking of your recent projects with Fred, you mentioned producing a film with him. Can you tell us more about that?
Artist: Yes, we are producing a full-length feature film based on Fred’s short novel called “Dog Bites Man.” It’s been a fascinating project, and we’ve been putting a lot of effort into it. The play has a unique annotation that we are bringing to life on the big screen, as the movie just came out on Prime Video. We will be having the first screening at the LGBTQ Community Center in West Village this upcoming Friday, July 19th.
