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Brad Kahlhamer (born 1956) is an artist known for his multi-media practice, ranging from sculpture and painting to performance and music. He is currently based in New York City, working from his studio in Brooklyn. His work has been collected by institutions such as the Museum of Modern Art, the Whitney Museum of American Art, the Metropolitan Museum of Art, the Denver Art Museum, the Milwaukee Art Museum, and the Madison Museum of Contemporary Art, Seattle Art Museum, and the Hood Museum of Art, among others. == Career == Kahlhamer was born in Tucson, Arizona. As an infant he was adopted by German-American parents and grew up in Wisconsin. His artistic career took form, first as a road musician throughout the midwest for ten years and later in 1982 graduating with a BFA from the University of Wisconsin-Fond du Lac and Oshkosh and moving to New York City.〔http://www.jackshainman.com/files/2914/1175/2860/Kahlhamer_Biography.pdf〕 The gritty vibrancy of the city, the Lower East Side and the Bowery further informed his iconography. Eventually spending ten years as a graphic artist and art director for Topps Chewing Gum Company before becoming a full-time artist in 1993.〔http://www.artbookspress.com/pages/books/3255/brad-kahlhamer/brad-kahlhamer-friendly-frontier〕 Major influences that appear throughout his work are informed by a lifetime of multi-ethnic and street culture explorations. Exploring what he refers to as the “third place”— the meeting point of two opposing personal histories has been a primary concern throughout his artistic career.〔http://www.jackshainman.com/artists/brad-kahlhamer〕 Overtime feeding a rich graphic vocabulary Kahlhamer explains, “Essentially, real events and people make up my characters. My work combines chronicle, myth, fantasy”.〔http://bradkahlhamer.net/press/images/Kahlhamer_FlArt_JulSep01_2.jpg〕 Most notably through Abstract Expressionism, graphic styles from Gary Panter, Art Spiegelman, Henry Darger, and continual study of Plains Indians' ledger drawings and a personal Native American heritage.〔 His approach to painting identity is also discussed in his essay on the painter Fritz Scholder for the Denver Art Museum. Recently his work has been described by Holland Cotter as a “spin out references to contemporary Native American and post-punk urban culture in figures drawn in filament-fine-ballpoint lines, in graffiti-like phrases and in spray-painted stains that look like scorch marks.” 〔http://www.nytimes.com/2013/11/15/arts/design/brad-kahlhamer-a-fist-full-of-feathers.html〕 Working in multiples, as he calls it, several series of paintings and sculptures have over time developed to be defining works.〔https://www.youtube.com/watch?v=rlOUzd9h5o0&feature=youtu.be〕 Kahlhamer questions notions of authenticity and representation within a very specific discourse of Native American art. These matters become all the more complex and urgent in view of a concept of originality or of the primordial as established by many Native American people today. Adopting the position of delinquency within these fields of discourse is a simultaneously precarious act stepping into a realm of as the post-Smithsonian delinquent. Staging oneself as a vulnerable target - which also provides the potential for innovation, for a discursive handling of identity, cultural representation and reflection .〔http://www.tba21.org/collection/artist/354/artwork/1153〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Brad Kahlhamer」の詳細全文を読む スポンサード リンク
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