For most of the life of his mother Tobi Kahn would present at each of its birthday. Gifts began during his childhood as a hand-drawn cards, offer more than the precocious. Increased it formally trained and then critically game artist, he played its/shredded tuna year, desk set up different, warta photo exhibition of the Museum.
Then early in the summer of 2004, Ellen Schapiro Kahn in Memorial Sloan-Kettering Cancer Center in Manhattan, dead at 75 pancreatic Cancer that had been found just one month before. It was uncertain may survive long enough even to be moved to the hospice near her home.
The woman is elegant taste and acute, Ms. Kahn has bedeviled by the smell of particular space. Something in its treatment of chemotherapy drugs, probably made at smell intolerably heavy. She always was adored flowers and his son, that its bouquets, but now it may not include them.
So Tobi Kahn gathered in one now final, a collection of his paintings of flowers, chryzantem fan rise and buttercups curling overlapping lines with white, blue, green, muted as pastels. Hung them in the hospital room, around its deathbed, what would be, so that the importance of memory can fill its nozdrzy from Ambrosia.
"Why not until the end of the life is beautiful?" Mr. Kahn, 58, as recalled in an interview at his studio on Long Island. "People say, the wedding should be beautiful, your birth should be beautiful. Why not user death? You cannot go for long in the Himalayas, you cannot dine sophisticated. However, you can view on the beautiful art. ”
With this private, personal view of his mother, Mr Kahn built a work unit, which seeks to solace, comfort, a kind of Sublimity, until the end of life. Is not only or even the basic work of doing — for decades was the protean, prolific artist paints, sculptures and installations--and yet it has become a special characteristic.
This artwork is withdrawn from the stage also expresses Mr Kahn, both its observance of the religious life Orthodox Judaism and its commitment to outreach throughout the line ". And at the same time, his choice for a group show at the Guggenheim in 1985 year of its reputation, his work has also been exhibited in places such as the Museum of Biblical art in New York and the Museum of religious art, contemporary art in St. Louis.
"One of the common bond of traditions is the concern of the people from suffering, love, mortality, immortality," said Dempsey e. Terrence Rev., Director of the Museum of St. Louis. "The role of religious art at the end of life is that it helps us to focus on what is very important — internal treatment, even if there is no physical healing and finally a sense of gratitude."
Already frozen art hospices, hospitals and Memorial chapels, of art from a single workspace to the entire room for meditation, Mr Kahn has several significant commissions in the near future. The Alliance for education, social services centre on the Lower East Side, he has to create the Memorial 10th anniversary for the victims of the terrorist attacks of 11 Sept 2001. The Healthcare Chaplaincy chose it as the main artist for palliative care units built 120-in lower Manhattan.
"Spiritual is equally important at the end of the road at the beginning," says Smith j. Walter Rev., President and Executive Director of chaplaincy. "The body and mind with naturally attacked by disease or aging independently, the soul is the thing which you can store the total person".
If Mr Kahn art can actually stir the soul, there is nothing about the process easily dried. As a child survivors of the Holocaust, named Uncle murdered by the Nazis at the age of 23 he grew up in Washington Heights among Jews emigres from Germany with an acute awareness of mortality in its most gruesome.
During his 20s, Mr Kahn was a girl, who was a disaster with cancer, and he credited his anguish into a series of portraits of unequal, clear, "says from the perspective of the time, reflects not only his Lover by suffering during chemotherapy, but also the Holocaust images from captives haggard, shaven-headed. In subsequent years Mr Kahn was designated to design many Holocaust memorials.
Yet he was imbued by his mother and grandmother from the life force, too, differently expressed by these women through fashion, career success, or an afternoon excursions to Museums of art. Also, as a member of the Jewish priestly caste with HaDintreisa Mr Kahn is prohibited by the law of religious to attend the funeral from anyone outside the immediate relative, travel it prove incompatible. Yes, only in the case of the death of his mother he actually occur ritual firsthand.
Which may help to clarify the transformation capabilities of its demise in its art. After the death of Mr Kahn began Ellen Kahn asking clergy members, Hospice staff and directors, what art death people wanted. Received both specific advice--no sharp edges, calmness, shades of blue, no drastic changes in tone, which can disable the hallucination--and more important, he recalls the wider recommendation on "some sense of dignity, no pill."
As part of its own process of grieving Mr Kahn spent 11 projects art memory of his mother. One of them involved in the design of the presbytery and meditation room and indoor residential premises Jewish 18 Hospice in the Bronx. Many of these paintings presented Lakes, horizons and landscapes, topics, to which Mr Kahn returned often in his art of life.
With their respect for nature, these paintings are strain of pantheism, one you can track how Kahn rear youthful fascination with Stonehenge. Work, but also subscribe to at least loosely Judaic concept "Mitzvah hiddur," sanctifying something (birds, if it is a literal) by beautifying it.
"We will be from one place to another," Mr Kahn go place "and beauty should be visible until you do."
E-mail: sgf1@columbia.edu
First published on December 31, 2010 11: 50 pm
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