After graduating from the École des beaux-arts de Montréal, Anne Kahane pursued further studies at the Cooper Union Art School in New York (1945-1947). She devoted herself to woodcarving during the 1950s, working primarily through direct carving (or taille directe), assemblage and modular techniques to construct highly architectural yet equally poetic works that offered a certain view of societal values. These pieces depict figures captured in scenes of everyday life, such as swimmers, acrobats, crowds and people in conversation. Among her public works are sculptures for the Winnipeg airport and General Hospital and for Montreal’s Place des Arts. She has participated in a number of national and international exhibitions, including at the Montreal Museum of Fine Arts (1951), the international competition for the Monument to the Unknown Political Prisoner in England (1953), the Concours artistique de la province de Québec (1956) and the 24th Venice Biennale (1958).
SEE :
« Naissance et persistance : La sculpture au Québec de 1946 à 1961 » by Carl Johnson, ESPACE #19, p. 41.
« Vitalité et pluralisme — La sculpture des années cinquante au Québec : Le travail de Anne Kahane et Suzanne Guité » by Joyce Millar, ESPACE #22, p. 23.
« Anne Kahane et la mise en scène du quotidien » by Gaston St-Pierre, ESPACE #50, p. 33.
« Anne Kahane par-delà la figuration » by Serge Fisette, ESPACE #90, p. 44.
