Miriam Cahn, IM DUNKELN (In the Dark), 2019, oil on canvas, 70 7/8 × 55 1/8".

Miriam Cahn, IM DUNKELN (In the Dark), 2019, oil on canvas, 70 7/8 × 55 1/8".

Miriam Cahn

Galerie Jocelyn Wolff

For feminist artists coming of age in the 1970s, painting was mostly a medium to be rejected. Miriam Cahn, for instance, started out drawing, creating large-scale chalk and charcoal pieces on the floor. It was only in the mid-’90s that she took up oil painting. A pair of consecutive but overlapping presentations in Galerie Jocelyn Wolff’s two spaces featured almost fifty works: One chapter represented that transitional period of the ’90s, presenting the artist’s little-known but crucial experiments with painted color; the other displayed her most recent work in oil. Collectively titled “notre sud” (Our South), the shows did not so much tell a story of progress as offer different perspectives on Cahn’s work.

Chapter one, which comprised color sketches of animals, plants, and humans in diverse painterly mediums that looked like they were glowing from within, engaged with issues of the body,

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