Cindy Kane
Cindy Kane 1985 Original Painting on Plywood
1985

Name: Cindy Kane 1985 Original Painting on Plywood
Brand: Cindy Kane
Price: 3200 USD
Availability: InStock

About the Item

Cindy Kane (American, b. 1957) Untitled, 1985 Oil on plywood Sight: 31 1/2 x 28 1/2 in. Framed: 39 3/4 x 36 x 2 in. Signed lower right: KANE Signed, titled, dated verso: Cindy Kane, Untitled, 1985 Cindy Kane (American, 1957-) grew up in Washington DC during the Vietnam War era, absorbing the period's powerful political climate. She is a self-taught artist whose multi media work is born out of a deep sense of connection to the political and environmental issues of our times. Her early work was influenced by the experience of living and working at the bottom of the Grand Canyon National Park, where she had the opportunity to document Anasazi Indian pictographs in pen and ink drawings. These images would inform her work for years to come. She draws on personal narrative and experience to create her paintings of maps, birds, toys, and artifacts from nature, often collaging bits of newspaper headlines, pieces of her children's homework, and pages of sheet music beneath layers of color and imagery. In a review of her work, author and critic John Loughery wrote; "Kane leads us into a peculiar netherworld, a hard to place area that's both reassuringly ancient, and anxiously modern. This is a painter who is interested in the unconscious and the archetypal, and utilizes her own private, (but not inaccessible) vocabulary and imagery." In a submission to AskART, Diana Wilson sent the following text from the 1989 edition California Art Review: Wilson wrote that this was written at a time when the artist, who now lives on Martha's Vineyard, was living in the Southwest: "While working in Grand Canyon National Park, she became familiar with the Anasazi Indian ruins and the pictographic narration of their lives on canyon walls. Her early works were influenced by her memories of these hieroglyphs, and embellished with symbols from her dreams. The primitive images found in her art depict essential and universal events in the human condition, procreation, survival, tribal communion, worship and ritual. Drawing from the tenets of Jungian psychology, she attempts to depict the universal archetypes which underlie all systems of art and narrative. Her paintings begin with a black background, into which she carves figures. Painting around them, she adds melted wax to enhance the impression of figures emerging from primordial forms. Hieroglyphs, characters and other shapes are scratched and chipped into the surface, contributing to the authentic, primeval feel her work exudes. She feels that chipping away at layers of wax, sand and paint is analogous to a peeling away of the many layers of the human psyche." Cindy Kane has exhibited her work nationally in galleries and museums since 1986, and her paintings can be found in a number of private and public collections, including the United States Embassies in Tijuana, Mexico, and in Sarajevo, Bosnia and Herzegovina. She has lived on Martha's Vineyard, Massachusetts with her husband and two daughters since 1996. Permanent collections include the United States Embassy in Sarajevo, Bosnia; United States Embassy in Tijuana, Mexico; and the Dartmouth College Collection at the Hanover Inn in Hanover, New Hampshire Bio sourced from the Archives of AskArt.

Creator:

Cindy Kane (American)

Creation Year:

1985

Dimensions:

Height: 39.75 in (100.97 cm)Width: 36 in (91.44 cm)Depth: 2 in (5.08 cm)

Medium:

Plywood,Oil

Movement & Style:

American Modern

Period:

1980-1989

Condition:

Good condition; not examined outside of the frame.

Gallery Location:

Larchmont, NY

Reference Number:

1stDibs: LU2211213378162

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Cindy Kane

Cindy Kane’s early works were influenced by her memories of these hieroglyphs and embellished with symbols from her dreams. “I hope [that viewers] get what I get from my work, which is enjoyment, visual satisfaction, and a story — whatever their own story is,” she said. “I can’t give them one, but I can tell my own, and the story they take with them is something personal.” Her early work was influenced by the experience of living and working at the bottom of the Grand Canyon National Park, where she had the opportunity to document Anasazi Indian pictographs in pen and ink drawings. These images would inform her work for years to come. While working in Grand Canyon National Park, she became familiar with the Anasazi Indian ruins and the pictographic narration of their lives on canyon walls. Her early works were influenced by her memories of these hieroglyphs, and embellished with symbols from her dreams. The primitive images found in her art depict essential and universal events in the human condition, procreation, survival, tribal communion, worship and ritual. Drawing from the tenets of Jungian psychology, she attempts to depict the universal archetypes which underlie all systems of art and narrative. Her paintings begin with a black background, into which she carves figures. Painting around them, she adds melted wax to enhance the impression of figures emerging from primordial forms. Hieroglyphs, characters and other shapes are scratched and chipped into the surface, contributing to the authentic, primeval feel her work exudes. She feels that chipping away at layers of wax, sand and paint is analogous to a peeling away of the many layers of the human psyche."

Cindy Kane has exhibited her work nationally in galleries and museums since 1986, and her paintings can be found in several private and public collections, including the United States Embassies in Tijuana, Mexico, and in Sarajevo, Bosnia and Herzegovina. She has lived in Martha's Vineyard, Massachusetts, with her husband and two daughters since 1996.

(Biography provided by Robert Azensky Fine Art)