Brings New Gallery
to Kansas City
By BLAIR SCHULMAN
In February 2012, New York gallerist and Kansas City native Bill Brady opens a new space at 1505 Genessee Street in the Stockyards District of the West Bottoms. There he joins John O’Brien’s established Dolphin Gallery and new kids on the block, PLUG projects. As the city’s arts community continues to thrive with talented artists and intelligent programming, this addition adds to a collective visibility.
Retiring the ATM Gallery name, a stalwart in Manhattan’s Chelsea neighborhood, he will operate in Kansas City as Bill Brady.
Brady says he is returning to an “old school gallery way”. He plans to have around five, seven- to eight-week exhibitions a year. A good judge of talent, he hopes to be a conduit for Kansas City as the arts community produces and shows homegrown and migrating talent.
Brady graduated from the Kansas City Art Institute in 1991 and went on to attend the Skowhegan Residency Program in Skowhegan, Maine. He attended graduate school at the School of Visual Arts in New York City and worked at Guggenheim Museum of Art and at Chase Manhattan Bank, where he oversaw their growing collection of fine art. In fall 2001, his first gallery opened in a small storefront space in New York’s East Village. As a way of financing the gallery he installed an operational ATM in the front window, thus becoming “ATM Gallery.” He later moved to his largest location in Chelsea.
The gallery became known for introducing emerging contemporary artists such as Japanese artist Tomoo Gokita, whose work has a Surrealist and Op-Art flavor, traditional documentary photographer Peter Sutherland, and abstract conceptualists like KCAI alumni Gordon Terry and Eric Sall are also among his stable of New York artists.
Looking for new talent here, Brady says it’s the dealer’s job to put art in a historical mode. By working in tandem with these artists he and other Kansas City galleries illustrate the city’s wealth of talent. Gravitating toward what artists like to make, Brady will employ these artists as a divining rod to help shape the civid cultural dialogue.
Through phone interview and text messaging, Brady says he is discussing the possibility of a three-person show at his new space with internationally-recognized minimalist Joe Bradley.
Known for his “easy assembly” irony and “slacker” aesthetic, Bradley uses a highly simplified painterly quality that suggests associations with mass media in a futuristic style. He often finds fun in art's commodifying influences while addressing the simpatico of commodification and contemporary art.
Hoping to find a strong collector base in Kansas City, Brady understands they’re already here and will look for new avenues for understanding visual art that exists here already and underscoring it for new and current collectors.
As the city continues an upward cultural trajectory, Bill Brady puts a welcome example of its organic prominence into perspective.
Archie Scott Gobber, For Sale by Owner, at Dolphin Gallery.