C HRIS K A HLE R
Recent Paintings
bruno david gallery
CHRIS KAHLER Recent Paintings
March 9 - May 5, 2012 Bruno David Gallery 3721 Washington Boulevard Saint Louis, 63108 Missouri, U.S.A. info@brunodavidgallery.com www.brunodavidgallery.com Director: Bruno L. David
This catalogue was published in conjunction with the exhibition Chris Kahler: Recent Paintings Editor: Bruno L. David Catalog Designers: Yoko Kiyoi and Martin Lang Design Assistant: Claudia R. David Printed in USA All works courtesy of Bruno David Gallery and Chris Kahler Cover image: Chris Kahler, (detail) Axis A-5, 2012, Acrylic on canvas, 72 x 96 inches (193.04 x 243.84 cm) First Edition Copyright Š 2012 Bruno David Gallery, Inc. All Rights Reserved under International and Pan-American Copyright Conventions. Except for legitimate excerpts customary in review or scholarly publications, no part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or information storage or retrieval systems, without permission in writing from the Bruno David Gallery, Inc.
CONTENTS
PICTURING CREATION: Chris Kahler’s New Paintings by Carmine Iannaccone KAIROS by Kara Gordon AFTERWORD by Bruno L. David CHECKLIST AND IMAGES OF THE EXHIBITION BIOGRAPHY
1
PICTURING CREATION: Chris Kahler’s New Paintings by Carmine Iannaccone Chris Kahler is an abstract painter. Obviously. His compositions look like eruptions of pigment that blasted into view through some mysterious, volcanic force. Fields of color bubble, flare out, then dissolve into vaporous drifts. Step back and you’ll see action on a more cosmic scale: the slow-motion churning of nebulae twisting in the silent reaches of space, the pocked topography of planets seen through a cover of clouds with the tracery of roads and habitations mapped onto their surface. Imagine yourself zooming in again and the patterns become an efflorescent kind of growth, like fantastically colored lichens literally colonizing the skin of the canvas or like a magnified view of the woven canvas itself. Hard-edge forms drift into the field of vision and amplify these ruminations even more by suggesting architectural girding, neural circuitry, or the zips of distant objects streaking through the sky. Now stop and consider: why do we call any of this abstract? What could be more real or concrete? With so many references and connections to the world around us, with so much rich illusionism at play, why do we separate this work into a category that is distinct from all other observable phenomena? Well, for one thing, it may be that the artist doesn’t intend to represent any of these things; the forms we see probably owe as much to the paint, the painting tools, and simple compositional prerogatives as anything else. But does that matter? If we see these things, then we see them. Images are images, no matter how they come to be manifested. So, to repeat the question: if these paintings resemble things we can observe in the rest of reality, why do we call them abstract? Perhaps it’s because the work is more about how the paintings come to be produced, because we see the process at work. Or maybe it’s because any one composition refers to multiple phenomena we might identify elsewhere, without the singular correspondence that comes with reproducing a specific, quantifiable thing. In that case, Kahler’s paintings are abstract because they aren’t supposed to look like anything. Nevertheless, they still do. All of which is to say that this artist’s work is not abstract because it deflects representation, it is abstract because it unhinges the function of representation, loosens the joints of correspondence, makes the presumed determinacy of representation indeterminate. Each canvas is like the protoplasm of figuration, a crucible where creation and the picturing of creation have not yet separated. They
2
do not show images, they show paint becoming images. One of the things we are given to see is the logic that’s built into that painting action itself: the accumulation of layers and the synchronized interplay of masking and revealing which ensues, the counterpoint between viscous liquidity and the hard-edge effects of stenciling, the harmonies and dissonances of vivid chromatic orchestrations. If they stopped there, the paintings would have plenty of historical precedent and plenty of reason for being. They’d be self-contained entities. And perhaps it’s a matter of temperament - some people will be content to let them stop there. But some people won’t. For some people, these paintings are also about the processes by which meaning come into being. They activate the mental mechanisms that search for analogies between what we’re looking at and what we’ve seen elsewhere, between what we’re seeing on the canvas, and what we know about the world. To look at one of these paintings is to engage in just such a searching or feeling around for meaning, as though the painting were a transparent screen which we hold up to the rest of things in life in order to look for matches, places where the image lines up with reality or with multiple realities. That those realities may be plural and indeterminate isn’t a problem. The qualities of resemblance remain, they’re just shifted from any particular thing being emulated to the act of emulation itself. That’s what makes Kahler’s work abstract. It’s not a passive property of how the painting looks, it’s an instrumentality, which is to say, it’s about how the painting causes you to use your eyes - and all the affiliated hardware - when you look.
Carmine Iannaccone is an artist and writer who lives in Los Angeles. He teaches seminars in critical theory and visual culture at the University of Southern California and Claremont Graduate University and has been a reviewer and commentator on contemporary art for many national and international art publications. His painting and sculpture deals with themes from natural history, mechanics, and the problems of structure and design. This essay is one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.
3
KAIROS by Kara Gordon So I simply pushed the atoms aside and we walked through the space between them.
–Madeleine L’Engle via Charles Wallace Murray, A Wrinkle in Time
E.C. White defines kairos as “a passing instant when an opening appears which must be driven through with force if success is to be achieved.” Chris Kahler’s Recent Paintings embodies this play of time and space, as well as the force that creates this special moment. Everything—both the environments that Kahler creates and our own world—intertwines, pulling between the world of abstraction and representation, the relationships’ intricacies immersing the viewers in a search for meaning. Kahler engages the imagination, toying with systems of organization and chaos to reveal how these work in space to construct environments. Kahler’s work has long been associated with biology, exploring both the micro- and macrocosms of the particular and the universal. Recent Paintings retains this element, as well as the formal components of liquidity and bright color. Many paintings in this exhibit have an ethereal quality that result from several soft layers—as many as twenty or thirty—that converge on the relationship between micro and macro. Centering on a nucleus, many compositions are reminiscent of atoms and cells or stars that radiate out into hardto-define space. The brilliant colors, diagonal lines and multiple layers heighten this delicate balance, but emphasize another aspect of Kahler’s art that encompasses the play between micro and macro: fractals. We know that fractals exist, but we do not necessarily see them. Fractals are patterns essentially constructed out of themselves, their form at its smallest component being reflective of the larger whole. Details of images are works of art in their own right, each square inch captivating and inspiring the viewer to wonder. The ambiguity of the micro-macro nature of Kahler’s paintings creates different levels of play for the viewer. Have we shrunk into the bacterial world or are we just a speck of dust in the greater cosmos? This uncertainty is the opening that White talks about in Kaironomia: on the will to invent.
4
Kahler drives through these instances with force time and time again, inventing the fantastic that recall realities of our world that are too small—or too big—to see. What occupies the space that Kahler creates is constructed out of the work itself in conjunction with what the viewer already knows. The Rhomb paintings work together to illustrate how the dichotomy of micro-macro creates kairos. Each piece is a perfect thirty-inch square that has acrylic glazes and vectors to achieve depth, but each has a distinct color palette that allows it to stand on its own. Rhomb 3A and Rhomb 4A stand out especially, Rhomb 3A in its shroud of pale yellow, Rhomb 4A with its smoky magenta atmosphere. Rhomb 3A suggests an environment much more micro than Rhomb 4A, illustrating the extremes of the dichotomy. The other paintings do not necessarily fall in the middle of the spectrum, but rather, take the macro and micro and drive them onto the same plane. In sharing and occupying the same space, the viewer cannot help but be fascinated. Entering into Kahler’s worlds, we walk the vectored lines, push aside the smoke, play within the nucleus, and delve into the inner layers. The epigraph is from L’Engle’s Kairos series in which the protagonists are thrust into new possibilities of bending time and space. Kahler also manipulates these elements as we know it, exploring that liminal space that L’Engle describes and that is the essence of kairos. In a society that glorifies the sensual and tangible (which certainly has its values as well), Kahler is taking on an enormous task in pursuing what lies on the edge of the senses. It is very much a risk: liminal time and space is virtually indefinable and thus takes on different qualities for different people, and one risks being misunderstood or misinterpreted. But perhaps that is the beauty of the liminal, of kairos. In this small, indefinable space, there is the potential for the infinite, and such is Kahler’s work.
Kara Gordon is a writer who lives and works in St. Louis, Missouri. This essay in one in a series of the gallery’s exhibitions written by fellow gallery artists and friends.
5
AFTERWORD by Bruno L. David 6
I am pleased to present a new exhibition, “Recent Paintings,” by Chris Kahler. This is his fourth solo exhibition with the gallery. Carmine Iannaccone writes of Kahler’s work that “it unhinges the function of representation, loosens the joints of correspondence, makes the presumed determinacy of representation indeterminate.” Kahler’s paintings are this but they are simultaneously that. The meaning, like the work itself, is multi-layered, and invites viewers to connect their own histories with the experience of looking. Kahler asks us construct meaning out of what we already know in conjunction with the work that is in front of us. In our search for meaning, Kahler pulls us further into his work, immersing us completely in the abstract environment he has created. These abstract environments become representational of a world—our world—and it is this play between abstract and representation that makes Kahler’s work so successful. Chris Kahler is a Professor of Painting and Drawing at Eastern Illinois University. He received his B.F.A. at Ohio Wesleyan University and M.F.A. from Northwestern University. 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 Carmine Iannaccone and Kara Gordon for their thoughtful essays. I am deeply grateful to Yoko Kiyoi, who gave much time, talent, and expertise to the production of this catalogue. Invaluable gallery staff support for the exhibition was provided by Rachael Schomburg, Malahat Qureshi, Martin Lang, Kara Gordon and Meagan Ramsey. .
7
8
CHECKLIST & IMAGES OF THE EXHIBITION
9
Axis A-5, 2012
Acrylic on canvas 72 x 96 inches (193.04 x 243.84 cm) 10
11
Axis A-5 (detail), 2012
Acrylic on canvas 72 x 96 inches (193.04 x 243.84 cm) 12
13
Axis A-6, 2012
Acrylic and pen on panel 36 x 48 inches (193.04 x 243.84 cm) 14
15
Dynamic Hybrid C-1, 2010-11
Acrylic and Oil on canvas 36 x 72 inches (193.04 x 243.84 cm) 16
17
Rhomb 5A, 2012
Acrylic and pen on panel 30 x 30 inches (76.20 x 76.20 cm) 18
19
Rhomb 2A, 2012
Acrylic and pen on panel 30 x 30 inches (76.20 x 76.20 cm) 20
21
Rhomb 4A, 2012
Acrylic and pen on panel 30 x 30 inches (76.20 x 76.20 cm) 22
23
Rhomb D-2, 2012
Acrylic and pen on panel 30 x 30 inches (76.20 x 76.20 cm) 24
25
Rhomb 1A, 2012
Acrylic and pen on panel 30 x 30 inches (76.20 x 76.20 cm) 26
27
Rhomb 3A, 2012
Acrylic and pen on panel 30 x 30 inches (76.20 x 76.20 cm) 28
29
Axis A-4, 2012
Acrylic on canvas 48 x 72 inches (121.92 x 182.88 cm) 30
31
Axis A-4 (detail), 2012
Acrylic on canvas 48 x 72 inches (121.92 x 182.88 cm) 32
33
Axis B-1, 2012
Acrylic and pen on panel 24 x 30 inches (60.96 x 76.20 cm) 34
35
Axis A-1, 2012
Acrylic on canvas 48 x 72 inches (121.93x 182.88 cm) 36
37
Axis A-2, 2012
Acrylic on canvas 48 x 60 inches (121.92 x 152.40 cm) 38
39
Axis A-2(detail), 2012
Acrylic on canvas 48 x 60 inches (121.92 x 152.40 cm) 40
41
Duality A-1, 2012
Acrylic and oil on canvas 72 x 96 inches (182.88 x 243.84cm) 42
43
Axis A-3, 2012
Acrylic on canvas 36 x 72 inches (91.44 x 182.88 cm) 44
45
Axis A-3 (detail), 2012
Acrylic on canvas 36 x 72 inches (91.44 x 182.88 cm) 46
47
Biotectonica, 2012
Acrylic and oil on canvas 36 x 60 inches (91.44 x 152.40cm) 48
49
CHRIS KAHLER: Recent Paintings at Bruno David Gallery in 2012 (Installation View - Detail) 50
51
CHRIS KAHLER: Recent Paintings at Bruno David Gallery in 2012 (Installation View - Detail) 52
53
CHRIS KAHLER: Recent Paintings at Bruno David Gallery in 2012 (Installation View - Detail) 54
55
CHRIS KAHLER: Recent Paintings at Bruno David Gallery in 2012 (Installation View - Detail) 56
57
CHRIS KAHLER: Recent Paintings at Bruno David Gallery in 2012 (Installation View - Detail) 58
59
CHRIS KAHLER: Recent Paintings at Bruno David Gallery in 2012 (Installation View - Detail) 60
61
CHRIS KAHLER: Recent Paintings at Bruno David Gallery in 2012 (Installation View - Detail) 62
63
64
CHRIS KAHLER Lives and works in Illinois
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 2012 2011 2010 2009 2007 2006 2004 2002 1997
Bruno David Gallery, Chris Kahler: Recent Paintings, St. Louis, Missouri (March) (catalogue) Anita S. Wooten Gallery, Valencia College, Chris Kahler: Duality, Orlando, FL David Richard Contemporary, Bio-Dynamic, Santa Fe, NM. (catalogue) Bruno David Gallery, Chris Kahler: Hybrid Dynamic, St. Louis, Missouri , (November-December) The John P. Weatherhead Gallery, Chris Kahler: Interconnectivity , University of Saint Francis, Fort Wayne, Indiana, (August-October) Bruno David Gallery, Chris Kahler: VIRAL, St. Louis, Missouri, (October-November) Bruno David Gallery, Impulsive Systems: The Works of Chris Kahler, Saint Louis, Missouri Elliot Smith Contemporary Art, Chris Kahler: Recent Works (October - November), Saint Louis, Missouri The International Museum of Surgical Science, Chris Kahler: ANATOMICA, (February 22-April 28), Chicago, Illinois John Almquist Gallery, Dismantling Beauty: Christopher Kahler, Winnetka, Illinois
65
SLECTED GROUP EXHIBITIONS 2011 2010 2009 2008 2007 2006 2005 2004
66
OVERPAPER, with Carmon Colangelo, William Conger, Alex Couwenberg, Jill Downen, Yvette Drury Dubinsky, Beverly Fishman, Joan Hall, Ann Hamilton, Kelley Johnson, Matthew Penkala, Judy Pfaff, Paul Henry Ramirez and Buzz Spector. Bruno David Gallery, St. Louis, Missouri (catalogue) Gallery Artists, Bruno David Gallery (Project Room), St. Louis, Missouri NEXT, Art Chicago, Chicago, Illinois, (Bruno David Gallery) Overview_09, Bruno David Gallery, St. Louis, Missouri 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, Illinois Controlled Chaos, Bruno David Gallery, St. Louis, Missouri Overview_08, Bruno David Gallery, St. Louis, Missouri 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, Indiania Paper Now, I Space, Chicago, Illinois Overview_07, Bruno David Gallery, St. Louis, Missouri Drawing & Watercolor, Tarble Arts Center, Charleston, Illinois Overview_06, Bruno David Gallery, Saint Louis, Missouri 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 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
2004 2003 2002 2001 2000 1996
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, MO 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 Inspired in Illinois, Lakeview Museum of Arts and Sciences, Peoria, Illinois 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 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 Gary Justis Appoints Three: Regina Allen, Chris Kahler, and Brian Schuetz, Lineage Gallery, Chicago, Illinois
67
GRANTS & AWARDS 2011 2010 2008 2007 2004 2003 1997 1995 1993
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, St. 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
SELECTED BIBLIOGRAPHY Iannaccone, Carmine. Charlston, Rebekah Miller, Sarah Bryan, Baran, Jessica Gordon, Kara. Abatemarco, Michael. Singh, Abhilasha. Pagel, David. Cooper, Ivy. Baran, Jessica. Cooper, Ivy.
86
“Picture Creation”, Catalogue, Essay. Bruno David Gallery Publication, March 2012 “Architectural Abstraction”, April 30, 2012, http://rebekahcharlston.com/?p=261 “Bruno David unveils new exhibits at his gallery”, St. Louis Post-Dispatch, April 20, 2012 “In the Galleries - NEW: Chris Kahler: Recent Paintings”, Riverfront Times, April 19, 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
Moynihan, Miriam. Yood, James. Beall, Dickson. Artner, Alan. Houston, Joe. Bonetti, David. Downen, Jill. Bonetti, David. ___________ Miller, Rob. Cooper, Ivy. Bonetti, David. Crone, Tomas. Beall, Hugh. Miller, Rob. Beall, Hugh. Bonetti, David. Sieloff, Alison. Bonetti, David. Murphy, Anne. Cooper, Ivy. Callahan, Teresa. Weir, Alex. ___________ Bonetti, David.
“Chris Kahler Ehibit Shows Artist’s Study of Color”, St. Louis Post-Dispatch, December 18, 2009 “Chris Kahler: Hybrid Dynamic”, Catalogue, Essay. Bruno David Gallery Publications, November 2009 “Live Virus”, West End Word, November 7, 2007 “Paper Now”, Chicago Tribune, September 21, 2007 “Chris Kahler: Viral”, Catalogue, Essay. Bruno David Gallery Publications, October 2007 “Biology in art”, St. Louis Post Dispatch, March 29, 2006 “Chris Kahler: Impulsive Systems”, Catalogue, Essay. Bruno David Gallery Publication, March 2006 “Chris Kahler: Impulsive Systems”, St. Louis Post Dispatch, March 9, 2005 “Five Galleries Not to Miss.” Where Magazine, March 2006 “’Over hung’ show or ‘Hung over’ critic?” Saintlouisart, November 17, 2005. “Bruno David Gallery: Inaugural Exhibition”, Riverfront Times, November 9, 2005. “Bruno David Gallery”, St. Louis Post Dispatch, November 9, 2005 “Bruno David to Open on Friday”, 52nd City, October 2005, http://blog.52ndcity.com/archives “The Bruno buzz”, West End Word, October 26, 2005 “Bruno David Gallery: Inaugural Exhibition”, Saintlouisart, October 25, 2005. “Bruno David Gallery: Inaugural Exhibition”, Illusion Junkie, October 25, 2005. Web Video. http://illusionjunkie.blogspot.com/2005/10/bruno-david-inaugural-exhibition.html “Bruno David Gallery: Inaugural Exhibition”, St. Louis Post Dispatch, October 20, 2005 “Grand Grand Center”, Riverfront Times, October 19, 2005 “Gallery musical chairs”, St. Louis Post Dispatch, October 1, 2005 “Art News”, The Healthy Planet, September 2005, “Abstract Painting: Six Points of View”, Riverfront Times, November 10-16, 2004, p. 40, St. Louis, MO. “Abstract Painting: Six Points of View”, West End Word, October 27-November 2, 2004, p.13. St. Louis, MO. “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. “Artist Celebrate Elliot Smith With Works Incorporating 20,” St. Louis Post-Dispatch, October 3, 2004. p. F6. St. Louis, MO.
69
Cooper, Ivy.
“1984-2004 Twentieth Anniversary Celebration At Elliot Smith”, Riverfront Times, September 29-October 5, 2004, p. 178. St. Louis, MO.
Martelli, Rose. Bonetti, David. Cooper, Ivy. Bonetti, David. Cooper, Ivy. ___________ ___________ ___________ ___________ ___________ ___________ ___________ Guo, Yang Chang. McConnell, Gordon. ___________
“Smith Elliot: The Gallery Looks In The Mirror For Its 20th.”, Riverfront Times, September 15-21, 2004, p. 32. St. Louis, MO. “Legends of the Fall - Critic’ Picks,” St. Louis Post-Dispatch, September 2, 2004. p. 2 (Get Out). St. Louis, MO. “Everything You Ever Wanted To Know About Art...”, Riverfront Times, July 28-August 3, 2004, p. 42. St. Louis, MO. “Everything Show”, , July 18, 2004. p. F8. St. Louis, MO. “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 Life styles 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. “Christopher B Kahler,” Vermont Studio Center Press, Liao Ning Fine Arts Publishing House, 2000, pp. 145-151. 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 cataogue, Harper College, Palatine, IL, 1993
70
OTHER 1999 - Present Professor, Painting/Drawing, Eastern Illinois University, Charleston, Illinois
71
72
ARTISTS Margaret Adams Dickson Beall Laura Beard Elaine Blatt Martin Brief Lisa K. Blatt Shawn Burkard Bunny Burson Carmon Colangelo Alex Couwenberg
Damon Freed William Griffin Joan Hall Takashi Horisaki Kim Humphries Kelley Johnson Howard Jones (Estate) Chris Kahler Bill Kohn (Estate) Leslie Laskey
Patricia Olynyk Robert Pettus Gary Passanise Daniel Raedeke Chris Rubin de la Borbolla Frank Schwaiger Charles Schwall Christina Shmigel Thomas Sleet Buzz Spector
Jill Downen Yvette Drury Dubinsky Corey Escoto Beverly Fishman
Sandra Marchewa Peter Marcus Genell Miller
Lindsey Stouffer Cindy Tower Mario Trejo Ken Worley
brunodavidgallery.com
73