Chris Kahler: SHIFT by Bruno David Gallery

CHRIS KA HLER SHIFT

bruno david gallery

Chris Kahler SHIFT

September 12 - October 25, 2020 Bruno David Gallery 7513 Forsyth Boulevard Saint Louis, Missouri 63105, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Founder/Director: Bruno L. David This catalogue was published in conjunction with the exhibition “Chris Kahler: SHIFT” at Bruno David Gallery. Editor: Bruno L. David Catalogue Designer: Lily Hollinden Designer Assistant: Claudia R. David Printed in USA All works courtesy of Chris Kahler and Bruno David Gallery Photographs by Bruno David Gallery Cover image: Morphotype 8, 2020. Acrylic and ink on panel, 20 x 16 inches (50.8 x 40.6 cm) First Edition Copyright ©2020 Chris Kahler and Bruno David Gallery All Rights Reserved. No part of this publication may be reproduced or transmitted in any form without the written permission of Bruno David Gallery

CONTENTS

CHRIS KAHLER: SHIFT BY DAVID B. OLSEN AFTERWORD BY BRUNO L. DAVID CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY

CHRIS KAHLER: SHIFT BY DAVID B. OLSEN

It may be impossible today to do anything without also thinking about the coronavirus. If you go anywhere even remotely crowded, you do so with equal parts apprehension, suspicion, and shame. (Who are you? Where have you been? What if it’s me and I don’t know it yet?) If you see art in person, you do so with a mask on, its faint blur visible at the bridge of your nose. Or if, for example, you happen to be randomly reading a recent book that discusses Robert Irwin and James Turrell’s late-1960s LACMA Art and Technology experimentation whereby they sought to design, in their words, “a specialized space” through which participants “change from one being oriented inwardly [toward] their own space or space of awareness that extends maximally about 6 feet around themselves”—when you read that, you immediately seize upon the idea of a six-foot radius as the golden mean of personal space by which we physically comport ourselves toward one another and the world.¹ This is to say that it’s hard not to view all new art in light of the current coronavirus. The work is not meant to be viewed this way, of course, but inevitably we succumb to the result of a corollary of circumstances and the astrological inevitability of every bad moon rising at once. When you see them now, then, the elements of Chris Kahler’s new paintings seem especially close. If we’ve become acutely aware of measured distance in daily life, these paintings depict the ebullient opposite of that. Forms both amorphous and geometrical alternately shift, batch, and huddle upon the surface; lines touch, intersect, and overlap, at once running up against and counter to one another. Kahler’s new visual vocabulary is productively, gorgeously claustrophobic in the same way that a map, when viewed from a reasonable distance, suggests that everything is actually pretty close, an entire world within reach. These works anticipate the figuration of our fraught times while also reminding us of the prime mover of painting as such—the containment of that which is viscous, three-dimensional, and fluid.

If, however, we seek to follow the lines—to contact-trace, so to speak—we see that the underlying architecture of Kahler’s paintings allows for a seemingly endless array of trajectories among, behind, and in between the concentric circular and polygonal shapes of this otherworldly planar terrain. In ink Kahler configures an otherwise impossible and unholy network of what seem to be at once diagrams of black holes, architectural elevations, and atomic structures. From unlikely germination to inevitable end, these lines expand incrementally to infinity or contract infinitesimally toward nothingness. As Robert Smithson once noted of “symmetrical perplexities” in his essay “Quasi-Infinities and the Waning of Space”: “One becomes aware of what T. E. Hulme called ‘the fringe . . . the cold walks . . . that lead nowhere.’” ² If the underdrawing of a painter like Julie Mehretu reflects the layering of specific locales and contested spaces, then Kahler’s graphic language of intersection exudes a kind of orbital imagination.³ The lattice of linear structures that support the abstraction of his recent works is spirographic, speculative, and all but adjacent to what we think of as spacetime. These configurations appear as vortexes, matrixes, revolutions, sound waves, echo locations, or whatever else you imagine signaling a frequency or equation. Lines here are all but impossible to follow or trace; they stretch our very imaginations to the threshold of what can or cannot be the case. If, in earlier bodies of work, Kahler’s understructures were an organic, often uneven coalescing of unkempt contours, what one sees throughout SHIFT is instead a newfound network that is both a precise accumulation and an explosive love of line. And yet this is only half of the whole of these works. One finds as well a myriad of morphological concentric circles and near-hexagons that defer our desire for a seemingly rational order. There is an inexhaustible variety of organic forms in the masses and mitoses that populate these paintings’ surfaces. Whatever they are, they appear to split, spill, and splatter. Morphotype 5 is a consummate example within this body of work in that there is an ecstatic conflagration of lines amid an almost anarchic experimentation of paint. One finds here what seem like liquid reductions, overheated celluloid film at a standstill, and the pressing together of glass slides under a microscope. But even these real-world analogues fail to articulate the sense of impending separation and spread that Kahler evinces in his surfaces. Of course we know that the works in SHIFT are not “about” the coronavirus, although this is how we may likely see them in context for now. ⁴ Kahler’s process, however, begins long before any particular content can be either imagined or inferred. What we think of as the painted parts of these paintings build up through accretion over time, only

to be reduced again by the end as they are sanded down and beset by marks. What we think of as final is in fact the visualization of a sense of loss—what was there isn’t, and what does appear is both urgent and overdue. The closer one looks, for example, the more aware one becomes of the starts and stops of Kahler’s lines. There is a telltale density at the end of many of these marks, a microscopic pooling of ink that appears as though a drop more than usual. Find the concentric circles of psycho-toxic red, green, dark red, green, and finally blue that are about one third of the way down and seven eighths of the way across Morphotype 2. (One imagines wanting charts of these works, something equally topographical and astrological.) That these late-addition lines are not always “under” but in fact coequal to the larger, eye-arresting fields of energetic color adds a profound depth to the work. What seems, on the surface, to have a skeleton that supports and upholds it is in fact a complicated matrix of that which is under and over, alternately a buttress and an interstice. Kahler’s superstructure of after-the-fact mathematical precision undergirds and interrogates the otherwise unruly, communicative, and mobile organic forms that permeate his picture planes. Looking at his recent works, one can identify the kind of hopeful, careful, and aspirational thinking that has accompanied our history’s innovators and solvers. Perhaps his speculative propositions will help us triangulate the space between ourselves, one another, and works of art. Perhaps they are prescient of the art to come in a socially distant future. Or perhaps they are what they are—pictures of time over time; explorations of distances near and far; and, for now, the capture of terrible proximity, beauty in the closeness of what we remember and imagine.

David B. Olsen is an art writer and editor based in Chicago, Illinois. He received his PhD from the Department of English at Saint Louis University. This text is one in a series of the gallery’s exhibitions written by fellow gallery artists, art critics and friends.

----------------------------------------1. Robert Irwin, James Turrell, and Ed Wortz, quoted in Mark C. Taylor, Seeing Silence (Chicago: University of Chicago Press, 2020), 48. It’s also probably not for nothing that if you track down the original quote in Maurice Tuchman’s A Report on the Art and Technology Program of the Los Angeles County Museum of Art (Los Angeles: LACMA, 1971), you see that on the same page another paragraph begins “Time is illusory . . .”—which reads as much a theoretical caprice then as it does an outright reality now, re. COVID-19. 2. Robert Smithson, “Quasi-Infinities and the Waning of Space,” Arts Magazine (November 1966). 3. In addition to the formal valences between Mehretu’s earlier paintings especially and Kahler’s works in SHIFT, it’s worth noting that, like Kahler’s work during the time of COVID, Mehretu’s explosive iconography was inevitably viewed differently following the attacks of 9/11, prompting her to acknowledge that what Calvin Tompkins describes as “wildly colorful, almost violent, with several tower-like forms partially obscured by marks that resembled explosions” were, in Mehretu’s words, created “before September 11th. . . . I felt weird about it afterward.” See Calvin Tomkins, “Big Art, Big Money: Julie Mehretu’s ‘Mural’ for Goldman Sachs,” New Yorker, March 22, 2010. 4. Smithson again, somewhat relatedly: “Most notions of time (Progress, Evolution, Avant-garde) are put in terms of biology,” and “In architecture . . . the biological metaphor prevails.” Ibid.

AFTERWORD BY BRUNO L. DAVID

I am pleased to present, SHIFT an exhibition by Chris Kahler. This is his tenth exhibition with the gallery. Within Kahler’s densely packed compositions, luminous forms appear to morph and proliferate within pulsating matrices of paint. Upon closer inspection, details emerge within the layered surfaces, dislocating forms and complicating spatial logic in the process. Manifesting conditions of profusion and flux, Kahler’s ecstatic abstractions provide a poignant, though ebullient, analogy for our precarious times. Chris Kahler is the Chair of the Department of Art + Design, Associate Director of the School of the Arts and Professor of Painting at Eastern Illinois University. He received his B.F.A. at Ohio Wesleyan University and M.F.A. from Northwestern University, Chicago, IL. Kahler has been the subject of numerous one-person exhibitions at venues including the Richard Ross Art Museum, Delaware, OH (2014); Anita Wooten Gallery, Valencia College, Orlando, FL (2011); John P. Weatherhead Gallery, University of Saint Francis, Fort Wayne, IN (2009); Museum of Surgical Science, Chicago, IL (2002). Support for the creation of significant new works of art has been the core to the mission and program of the Bruno David Gallery since its founding in 2005. I would like to express my sincere thanks to David B. Olsen for his thoughtful eassay. I am deeply grateful to Lily Hollinden, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Jordan Lee, Grace Ray, Lily Hollinden, and Nina R. Huang.

CHECKLIST & IMAGES OF THE EXHIBITION

Morphotype 11 2020 Acrylic and ink on panel 60 x 48 inches (152.4 × 121.9 cm) 14

Morphotype 5 2020 Acrylic and ink on panel 40 x 30 inches (101.6 × 76.2 cm) 16

Morphotype 1 2019 Acrylic and ink on panel 60 x 40 inches (152.4 × 101.6 cm) 18

Morphotype 9 2020 Acrylic and ink on panel 16 x 16 inches (40.6 × 40.6 cm) 20

Morphotype 8 2020 Acrylic and ink on panel 20 x 16 inches (50.8 × 40.6 cm) 22

Morphotype 7 2020 Acrylic and ink on panel 60 x 48 inches (152.4 × 121.9 cm) 24

Morphotype 12 2020 Acrylic and ink on panel 20 x 16 inches (50.8 × 40.6 cm) 26

Morphotype 4 2020 Acrylic and ink on panel 16 x 16 inches (40.6 × 40.6 cm) 28

Morphotype 10 2020 Acrylic and ink on panel 40 x 30 inches (101.6 × 76.2 cm) 30

Morphotype 3 2020 Acrylic and ink on panel 60 x 48 inches (152.4 × 121.9 cm) 32

Morphotype 6 2020 Acrylic and ink on panel 40 x 30 inches (101.6 × 76.2 cm) 34

Morphotype 2 2019 Acrylic and ink on panel 40 x 30 inches (101.6 × 76.2 cm) 36

CHRIS KAHLER EDUCATION M.F.A. M.A. B.F.A.

1995, Painting/Printmaking concentration, Northwestern University, Evanston, Illinois 1992, Painting/Drawing concentration, Eastern Illinois University, Charleston, Illinois 1991, Painting concentration, Ohio Wesleyan University, Delaware, Ohio 1990, Study Abroad, Parson’s School of Art and Design and The American University, Paris France

SOLO EXHIBITIONS 2020 Bruno David Gallery, Chris Kahler: SHIFT, St. Louis, Missouri (catalogue) 2017 Bruno David Gallery, Chris Kahler: Permutate, St. Louis, Missouri (catalogue) 2016 Bruno David Gallery, Chris Kahler: Metaphemeral, St. Louis, Missouri (catalogue) 2015 Bruno David Gallery, Chris Kahler: On Paper, St. Louis, Missouri (catalogue) 2014 Richard M. Ross Art Museum, Chris Kahler, Delaware, Ohio Bruno David Gallery, Chris Kahler: Dialumens, St. Louis, Missouri (catalogue) 2013 Bruno David Gallery, Chris Kahler: Disequencing, St. Louis, Missouri (April) (catalogue) 2012 Bruno David Gallery, Chris Kahler: Recent Paintings, St. Louis, Missouri (March) (catalogue) 2011 Anita S. Wooten Gallery, Valencia College, Chris Kahler: Duality, Orlando, FL 2010 David Richard Contemporary, Bio-Dynamic, Santa Fe, NM. (catalogue) 2009 Bruno David Gallery, Chris Kahler: Hybrid Dynamic, St. Louis, Missouri (November) (catalogue) The John P. Weatherhead Gallery, Chris Kahler: Interconnectivity (August-October), University of Saint Francis, Fort Wayne, Indiana 2007 Bruno David Gallery, Chris Kahler: VIRAL, St. Louis, Missouri. (catalogue) 2006 Bruno David Gallery, Impulsive Systems: The Works of Chris Kahler, Saint Louis, Missouri 2004 Elliot Smith Contemporary Art, Chris Kahler: Recent Works October - November, Saint Louis, Missouri

2002 1997

The International Museum of Surgical Science, Chris Kahler: ANATOMICA, February 22-April 28, Chicago, Illinois John Almquist Gallery, Dismantling Beauty: Christopher Kahler, Winnetka, Illinois

SELECTED GROUP EXHIBITIONS 2020 2019 2018 2017 2016

OVERVIEW_2020, Bruno David Gallery, St. Louis, MO MARKS, Bruno David Gallery, St. Louis, MO Mentor / Mentee, Tarble Art Museum, Eastern Illinois University, IL Small Worlds, Bruno David Gallery, St. Louis, MO OVERVIEW_2018, Bruno David Gallery, St. Louis, MO Critical Art Center, Critical Mass, Peoria, IL Art & Design, Tarble Art Museum, Eastern Illinois University, IL Chicago Paints, The University of Ohio Art gallery, Athens, OH

Burst of Memory, Bruno David Gallery, St. Louis, MO 2015 AND / OR, Bruno David Gallery, St. Louis, MO (catalogue) OVERVIEW_2015, Bruno David Gallery, St. Louis, MO 2014 Analogons, Daum Museum of Contemporary Art, Sedalia, MO OVERVIEW_2014, Bruno David Gallery, St. Louis, MO 2013 Chroma Exploda: Contemporary Paintings, River Art gallery, Southeast Missouri State University, Cape Girardeau, MO BLUE-WHITE-RED, Bruno David Gallery, St. Louis, MO 2012 W.O.P. I, Bruno David Gallery, St. Louis, MO 2011 OVERPAPER, with Carmon Colangelo, William Conger, Alex Couwenberg, Jill Downen, Yvette Drury Dubinsky, Beverly Fishman, Joan Hall, Ann Hamilton, Kelley Johnson, Chris Kahler, Matthew Penkala, Judy Pfaff, Paul Henry Ramirez, and Buzz Spector. Bruno David Gallery, St. Louis, MO (catalogue) 2010 Gallery Artists, Bruno David Gallery (Project Room), St. Louis, MO 2009 NEXT, Art Chicago, Chicago, Illinois, (Bruno David Gallery) 2009 Overview_09, Bruno David Gallery, St. Louis, Missouri

2008 Synchronous Events, Works of Chris Kahler and Charles Schwall, Purdue University, Patti and Rusty Rueff Galleries, Lafayette, Indiana New Paintings, IL+MO, Edwardsville Arts Center, Curated by Daniel Raedeke, Edwardsville, IL Controlled Chaos, Bruno David Gallery, St. Louis, Missouri Overview_08, Bruno David Gallery, St. Louis, Missouri 2007 ArtsDesire, Contemporary Art Museum St. Louis, St. Louis, Missouri. Biennial 24, South Bend Museum of Art, Curated by Meg Sheehy and Myra Casis, South Bend, Indiana Paper Now, I Space, Chicago, Illinois Overview_07, Bruno David Gallery, St. Louis, Missouri 2006 Drawing & Watercolor, Tarble Arts Center, Charleston, Illinois Overview_06, Bruno David Gallery, Saint Louis, Missouri 2005 Inaugural Exhibition, Bruno David Gallery, Saint Louis, Missouri Le Papier, Gescheidle Gallery, Chicago, Illinois The (In)Visible Body. Curated by Heather Weber, NIU Gallery, Chicago, Illinois Noire, Curated by Bruno L. David, Elliot Smith Contemporary Art, Saint Louis, Missouri 2004 2003 2002

Abstract Painting: Six Points of View, Curated by Belinda Lee, RAC Gallery, Saint Louis, Missouri 1984-2004 Twentieth Anniversary Celebration, Curated by Bruno L. David, Elliot Smith Contemporary Art, Saint Louis, Missouri Art St. Louis XX, Curated by Chakaia Booker, Art St. Louis Gallery, Saint Louis, Missouri Everything You Ever Wanted To Know About Art..., Elliot Smith Contemporary Art, Saint Louis, Missouri Size Matters, Curated by Bruno L. David, Elliot Smith Contemporary Art, Saint Louis, Missouri Midwestern Exhibition, Rockford Art Museum, Rockford, Illinois Art St. Louis Selections, Schmidt Art Center, Belleville, Missouri 2004, Curated by Mel Watkin, Art St. Louis Gallery, Saint Louis, Missouri Greater Midwest, International Exhibition XIX, Art Center Gallery, Central Missouri State University, Warrensburg, Missouri Works on Paper, I-Space Gallery, Chicago, Illinois Systematic, Cade Center for the Fine Arts Gallery, Anne Arundel Community College, Arnold, Maryland Art St. Louis XIX, Art St. Louis Gallery, Saint Louis, Missouri Ready for War, University Galleries, Illinois State University, Normal, Illinois Southern Illinois Artists Exhibition, Mitchell Museum, Mount Vernon, Illinois Polka-dots and Squiggly Things, Gescheidle Gallery, Chicago, Illinois

2002 Inspired in Illinois, Lakeview Museum of Arts and Sciences, Peoria, Illinois 2001 Artists-Alumni: Masters of Fine Arts from Northwestern’s Department of Art Theory and Practice, Block Museum, Northwestern University, Evanston, Illinois Nineteenth Biennial Southern Illinois Artists Exhibition, Mitchell Museum, Mount Vernon, Illinois The 13th Biennial Drawing/Watercolor: Illinois Exhibition, Tarble Art Museum, Charleston, Illinois 2000 The 2000 Rockford-Midwestern Exhibition, Rockford Art Museum, Rockford, Illinois Americas 2000, Northwest Art Center, Minot State University, Minot, North Dakota Seventh Biennial Regional Arts Exhibition, University Museum, Southern Illinois University, Carbondale, Illinois 1996 Gary Justis Appoints Three: Regina Allen, Chris Kahler, and Brian Schuetz, Lineage Gallery, Chicago, Illinois

GRANTS & AWARDS 2015 2013 2011 2010 2008 2007 2004 2003 1997 1995 1993

Distinguished Alum Exhibition Award, Ohio Wesleyan University Emerging Arts Administrators Fellowship, National Council of Arts Administrators Redden Grant, Eastern Illinois University Redden Grant, Eastern Illinois University Painting’s Edge Residency, Idyllwild, CA Painting’s Edge Residency, Idyllwild, CA Vermont Studio Center, Johnson, Vermont. Artist Grant Art St. Louis XIX, Art St. Louis Gallery, Saint Louis, Missouri, Award of Excellence Southern Illinois Artists Exhibition, Mitchell Museum, Mount Vernon, Illinois, Painting Honorarium Award Vermont Studio Center, Johnson, Vermont, Artist Grant Annual All-Illinois Graduate Art Exhibition, Jones Resident Prize Department of Art Theory and Practice, Northwestern University, TA Scholarship (2 years) 24th Bradley National print and Drawing Exhibition Award

BIBLIOGRAPHY Olsen, David B.. Hollerbach, Bryan A. Smith, Jad. Marks, Kerry. Barber, Rehema. Marks, Kerry. Beall, Dickson. Langdon, Paul. Spector, Buzz. Golden, Conor. Krainak, Paul. Smith, Jad. Swenson, Eric. Iannaccone, Carmine. Gordon, Kara. Abatemarco, Michael Singh, Abhilasha Pagel, David Cooper, Ivy Baran, Jessica Cooper, Ivy Moynihan, Miriam Yood, James. Cooper, Ivy Beall, Dickson. Artner, Alan. Houston, Joe.

“Chris Kahler”, Catalogue Essay, Bruno David Gallery Publications, December 2020 “Bruno’s Back”, Ladue News, September 4, 2020 “Chris Kahler”, Catalogue, Interview, Bruno David Gallery Publications, December 2017 “Women Wrapped in Bows, Transitional Imagery, and Celestial Art”, HEC-TV, October 17, 2017 “A Conversation”, Catalogue, Bruno David Gallery Publications, February 2017 “November Exhibitions”, HEC-TV, November 2016 “Moving Ahead in Time”, West End Word, November 19, 2016 “Opening at Bruno david Gallery”, HEC-TV, November 2016 “Chris Kahler: Of Luminescences”, Catalogue, Essay, Bruno David Gallery Publication, May 2015 “A Fusion of Function in New Exhibit”, The Transcript, September 11, 2014 “Chris Kahler”, Catalogue, Essay. Bruno David Gallery Publication, March 2014 “Chris Kahler”, Catalogue, Essay. Bruno David Gallery Publication, April 2013 “Chris Kahler: Disequencing”, Video-Interview (4:05 min.), April 2013 https://www.youtube.com/watch?v=wRdpZRAyGO4&list=UUKAC75pa4JEEq8ta48pmluQ “Picture Creation”, Catalogue, Essay. Bruno David Gallery Publication, March 2012 “Kairos”, Catalogue, Essay. Bruno David Gallery Publication, March 2012 “Chris Kahler: Bio-Dynamic”, The Santa Fe New Mexican, September 2010 “Bio Dynamic”, ARTslant-Santa Fe, September 2010 “Forever Now”, Catalogue Essay: Bio-Dynamic, David Richard Contemporary Publication, October 2010 “Chris Kahler: Bruno David”, Art in America, February 5, 2010 “Chris Kahler: Hybrid Dynamic”, Riverfront Times, November 25, 2009 “Bright Spots”, St. Louis Beacon, November 23, 2009 “Chris Kahler Exhibit Shows Artist’s Study of Color”, St. Louis Post-Dispatch, December 18, 2009 “Chris Kahler: Hybrid Dynamic”, Catalogue, Essay. Bruno David Gallery Publication, November 2009 “Edwardsville Show Includes Some of the Area’s Best”, St. Louis Beacon, June 18, 2008 “Live Virus”, West End Word, November 7, 2007 “Paper Now”, Chicago Tribune, September 21, 2007 “Chris Kahler: Viral”, Catalogue, Essay. Bruno David Gallery Publication, October 2007

Bonetti, David. “Biology in art”, St. Louis Post Dispatch, March 29, 2006 Downen, Jill “Chris Kahler: Impulsive Systems”, Catalogue, Essay. Bruno David Gallery Publication, March 2006 Bonetti, David. “Chris Kahler: Impulsive Systems”, St. Louis Post Dispatch, March 9, 2005 ___________ “Five Galleries Not to Miss.” Where Magazine, March 2006 Miller, Rob. “Over hung’ show or ‘Hung over’ critic?” Saintlouisart, November 17, 2005. Cooper, Ivy. “Bruno David Gallery: Inaugural Exhibition”, Riverfront Times, November 9, 2005. Bonetti, David. “Bruno David Gallery”, St. Louis Post Dispatch, November 9, 2005 Crone, Tomas. “Bruno David to Open on Friday”, 52nd City, October 2005, http://blog.52ndcity.com/archives Beall, Hugh. “The Bruno buzz”, West End Word, October 26, 2005 Miller, Rob. “Bruno David Gallery: Inaugural Exhibition”, Saintlouisart, October 25, 2005. Beall, Hugh. “Bruno David Gallery: Inaugural Exhibition”, Illusion Junkie, October 25, 2005. Web Video. http://illusionjunkie.blogspot.com/2005/10/bruno-david-inaugural-exhibition.html Bonetti, David. “Bruno David Gallery: Inaugural Exhibition”, St. Louis Post Dispatch, October 20, 2005 Sieloff, Alison. “Grand Grand Center”, Riverfront Times, October 19, 2005 Bonetti, David. “Gallery musical chairs”, St. Louis Post Dispatch, October 1, 2005 Murphy, Anne. “Art News”, The Healthy Planet, September 2005, Cooper, Ivy. “Abstract Painting: Six Points of View”, Riverfront Times, November 10-16, 2004, p. 40, St. Louis, MO. Callahan, Teresa. “Abstract Painting: Six Points of View”, West End Word, October 27-November 2, 2004, p.13. St. Louis, MO. Weir, Alex. “The Symbiosis of Pride and Biology”, Riverfront Times, October 20-26, 2004, p.32, St. Louis, MO. ___________ “Hot Picks”, Vital VOICE, October 8-22, 2004, p. 15. St. Louis, MO. Bonetti, David. “Artist Celebrate Elliot Smith With Works Incorporating 20,” St. Louis Post-Dispatch, October 3, 2004. p. F6. St. Louis, MO. Cooper, Ivy. “1984-2004 Twentieth Anniversary Celebration At Elliot Smith”, Riverfront Times, September 29-October 5, 2004, p. 178. St. Louis, MO. Martelli, Rose. “Smith Elliot: The Gallery Looks In The Mirror For Its 20th.”, Riverfront Times, September 15-21, 2004, p. 32. St. Louis, MO. Bonetti, David. “Legends of the Fall - Critic’ Picks,” St. Louis Post-Dispatch, September 2, 2004. p. 2 (Get Out section). St. Louis, MO. Cooper, Ivy. “Everything You Ever Wanted To Know About Art...”, Riverfront Times, July 28-August 3, 2004, p. 42. St. Louis, MO.

Bonetti, David. “Everything Show”, , July 18, 2004. p. F8. St. Louis, MO. Cooper, Ivy. “Size Matters”, Riverfront Times, June 9-15, 2004, p. 39. St. Louis, MO. ___________ New American Paintings, Midwest Issue, August, 2004. ___________ National Juried Art Exhibition. Exhibition catalogue, El Dorado Museum, El Dorado, KS, 2003. ___________ Southern Illinois Artists Exhibition, Exhibition catalogue, Mitchell Museum, Mt. Vernon, IL, 2003. ___________ “Paintings by Kahler on Display at Chicago Gallery”, Charleston Times Courier, December 16, 2002. ___________ “Anatomica: EIU Art Professor’s Work Exhibited in Chicago”, Charleston Times Courier, Cover of Lifestyles section, March 20, 2002. ___________ Chicago Reader. Exhibition announcement with photograph, Chicago, IL, April 5, 2002, March 15, 2002, April 11, 1997. ___________ Artists/Alumni: Masters of Fine Arts from Northwestern’s Department of Art Theory and Practice. The Mary and Leigh Block Museum of Art Press, Exhibition catalogue, Northwestern University, 2001. 72-3, 109. Guo, Yang Chang. “Christopher B Kahler,” Vermont Studio Center Press, Liao Ning Fine Arts Publishing House, 2000, pp. 145-151. McConnell, Gordon. Americas 2000. Minot State University Press, Exhibition Catalogue, Minot State University, ND, August-September 2000. ___________ 17th Harper College National Print and Drawing Exhibition, Harper College Press, Exhibition catalogue, Harper College, Palatine, IL, 1993.

PUBLISHED WRITING Beyond the Afterglow, catalogue essay, Justin Henry Miller exhibition, October 2012, Tarble Art Center, IL Systematic Deconstruction, catalogue essay, Thomas Sleet exhibition, January 2008, Bruno David Gallery Publications, St. Louis, MO Rockwoods Reservation, catalogue essay, Ken Worley exhibition, February 2006, Bruno David Gallery Publications, St. Louis, MO

PUBLIC COLLECTIONS Milwaukee Art Museum, WI Daum Museum of Contemporary Art, Sedalia, MO Cortex Building, St Louis, MO Reich LLC, Ashville, NC Schattdecor Corp., St Louis, MO Washington University School of Medicine in St Louis, MO Bradley University, Peoria, IL

OTHER 2019 – Present 2015 – 2019 1999 – Present

Associate Director of the School of the Arts, Eastern Illinois University, Charleston, Illinois Chair, Department of Art +Design, Professor, Eastern Illinois University, Charleston, Illinois Professor, Painting, Department of Art +Design, Professor, Eastern Illinois University, Charleston, Illinois

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ARTISTS Sara Ghazi Asadollahi Laura Beard Heather Bennett Lisa K. Blatt Michael Byron Bunny Burson Judy Child Carmon Colangelo Alex Couwenberg Terry James Conrad Jill Downen Damon Freed

Yvette Drury Dubinsky Douglass Freed Richard Hull Kelley Johnson Chris Kahler Leslie Laskey Justin Henry Miller James Austin Murray Yvonne Osei Patricia Olynyk Gary Passanise

Charles P. Reay Daniel Raedeke Tom Reed Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector Mark Travers Monika Wulfers