BRAD KAHLHAMER AT INDEPENDENT 20TH CENTURY
The Battery Maritime Building at Cipriani South Street
10 South Street
New York, NY 10004
(New York, NY) – For the 2024 edition of Independent 20th Century, Venus Over Manhattan is pleased to present a solo exhibition of early work by Brad Kahlhamer, marking his debut with the gallery and setting the stage for a 2025 solo exhibition. Renowned for his multimedia practice, Kahlhamer’s paintings, sculptures, and works on paper from the 1990s highlight the foundational elements of his exploration of cultural hybridity and identity, influenced by his study of Native American ledger drawings and his immersion in the gritty New York art scene of the 1980s. The presentation traces the evolution of Kahlhamer’s unique perspective, blending historical influences with contemporary references, and telegraphs the beginnings of his notion of the “Third Place,” the meeting point of his diverse cultural experiences. Venus Over Manhattan’s presentation will highlight Kahlhamer’s artistic roots and the enduring themes that permeate his practice.
39 Great Jones Street
New York, NY 10012
55 Great Jones Street
New York, NY 10012
GALLERY HOURS
Tuesday – Saturday
10:00 am – 6:00 pm
IMAGE CREDITS
Portrait of Brad Kalhamer. Photo:
Doug Miles.
Bird + Thalia, 2000. Watercolor,
ink on paper; 22 x 30 in
B. Butte, 1998. Oil on canvas; 16
1/4 x 14 in
Untitled, c. 1990. Mixed media;
14 x 6 x 3 in
All images of works by Brad
Kahlhamer are courtesy of the
artist and Venus Over Manhattan,
New York. V
BRAD KAHLHAMER: BIOGRAPHY
Growing up in Arizona, Kahlhamer
was surrounded by the rich cultural landscapes of the American Southwest. This
environment, combined with his indigenous heritage, sowed the seeds for a
lifelong exploration of hybrid cultural experiences, which would later become a
central theme in his art.
Kahlhamer pursued his higher
education in the Midwest, earning a Bachelor of Fine Arts degree from the
University of Wisconsin-Oshkosh in 1982. His formal education provided him with
a strong foundation in the arts. After a brief stint as a traveling musician,
Kahlhamer moved to New York City in the 1980s.
New York City marked a pivotal
turning point in Kahlhamer’s career. He secured a job at Topps Chewing Gum, a
role that became a crucial stepping stone in his artistic development. At
Topps, Kahlhamer was introduced to influential figures in the underground art
scene, notably Art Spiegelman, the renowned creator of Maus.
In 1993, Kahlhamer left Topps to
commit fully to his art practice. The early 1990s in New York were
characterized by a flourishing of alternative art spaces, which provided
platforms for emerging artists. Kahlhamer’s work was prominently featured in
exhibitions at venues like Exit Art, Thread Waxing Space, and White Columns.
His installations, such as the doomsday shelter piece for The Garden of
Sculptural Delights and the model village in Project Room at Thread Waxing
Space, showcased his ability to blend personal history with imaginative
constructs.
In discussing his work and its
context, Kahlhamer has articulated a vision of art that operates within this
“third place,” a space that merges different realities and cultural
backgrounds. This concept resonates with the historical context of Indigenous ledger
drawings, which transformed the spaces of colonial documentation into vibrant
narratives of resistance and survival. For Kahlhamer, this intersection of
cultures and experiences is not merely a thematic choice but a fundamental
aspect of his artistic identity.
Kahlhamer’s art has been exhibited extensively in the United States and internationally. His works are included in collections from prestigious institutions such as the Museum of Modern Art and the Whitney Museum of American Art in New York, the Seattle Art Museum, the Denver Art Museum, and many others.
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