Joe Bradley

  • , To be titled, 2015
    Mixed media on canvas
    195,6 x 182,9 cm
    77 x 72 inches
  • , Untitled, 2014
    Oil on canvas
    157,5 x 124,5 cm
  • , Untitled, 2011
    Graphite on paper
    80 x 60 cm
  • , Untitled, 2011
    Mixed media on paper
    65 x 50 cm
  • , Untitled, 2011
    Mixed media on paper
    65 x 50 cm
  • , Untitled, 2011
    Mixed media on paper
    65 x 60 cm
  • , Head with Pipe, 2011
    Mixed media on canvas
    162,6 x 177,8 cm
  • , Mash Potato, 2011
    Mixed media on canvas
    195,6 x 228,6 cm
  • , Big Indian, 2011
    Mixed media on canvas
    241,3 x 299,7 cm
  • , Untitled, 2009
    Pencil on paper
    29,7 x 13,7 cm
  • , Untitled, 2009
    Pencil on paper
    25,4 x 20,32 cm
  • , Untitled, 2009
    Pencil on paper
    27,9 x 21,6 cm
  • , Susan, 2010
    Oil, spraypaint and mixed media on canvas
    139,7 x 254 cm

In the late nineties, Joey Bradley settled in New York where his subject matter shifted from landscapes to abstraction with the intention « to inject a bit of irony »[1] into his work, as the artist explained. Bradley's style soon crystallized in a series of ‘Modular’ paintings comprised of monochromatic rectangles assembled in anthropomorphic shapes. While producing these geometric totems, Bradley simultaneously continued his drawing and painting practice, establishing a dialogue with his monochromes that culminated with his ‘Schmagoo Paintings’. Despite the ostensibly reductive and nonfigurative aspects of his work, Bradley's biomorphic forms and symbols consistently produce a sense of familiarity. His black silhouettes of dancing figures, abstract oil compositions featuring overlapping colors and shapes, and more recent ‘Cave’ paintings - made up of blocks of colored oil stick applied to exposed canvas - continue to evince his characteristically  expressionistic and rudimentary aesthetic. Evolving like a chameleon painter in a range of styles, Bradley has also begun recently to experiment with figurative forms in sculpture.

[1] Joe Bradley, interview with Eric Troncy, 'FROG', Fall-Winter 2014-2015


Exhibitions


Museum Exhibitions


News

  • Joe Bradley, Château de Boisgeloup, Gisors, France


    April - May, 2017

    On the occasion of the first public opening of the Château de Boisgeloup, the Fundación Almine y Bernard Ruiz-Picasso para el Arte is pleased to announce an exhibition of new sculptures by American artist Joe Bradley in Pablo Picasso’s former studio. The premises will also be open to the public for several days during the span of the exhibition.
    _

    The exhibitions will be opened to the public on the following dates: 

    Saturday, April 8, 2017 - from 11am to 6pm 
    Saturday, April 22, 2017 - from 11am to 6pm 
    Saturday, May 13, 2017 - from 11am to 6pm 
    Saturday, May 27, 2017 - from 11am to 6pm

    Château de Boisgeloup
    Place Pablo Picasso
    27140 Le Boisgeloup
    Gisors, France

    wwww.fabarte.org

    _

    Since the beginning of his career, Joe Bradley has developed a dense pictorial aesthetics, which explores a wide range of techniques and styles, from modular canvases assembled in anthropomorphic shapes and abstract expressionist compositions, to his more cartoonish Schmagoo paintings. More recently, Bradley has also initiated a sculptural body of works, in which two divergent tendencies seem to coexist: his figurative bronzes based on previously found objects versus the minimalist forms of his monolithic sculptures. Like his “modular” paintings, the artist’s aluminum and Plexiglas sculptures open onto a constructivist alternative. 

    _

    Joe Bradley (born 1975, Maine, USA) lives and works in New York. He studied at the Rhode Island School of Design in Providence, where he received a BFA in 1999. Since his participation in the 2008 Whitney Biennial, Joe Bradley has aroused increased attention. His previous solo exhibitions include BOZAR, Brussels, Belgium (2016-2017); Le Consortium, Dijon, France (2014); PS1 Contemporary Art Center, Long Island City, New York, USA (2006); and ConTEMPorary, New York, USA (2003). His work has also been exhibited in various group shows, such as New York Painting, Kunstmuseum Bonn, Germany (2015); The Museum of Modern Art, New York, USA (2014–2015); The Inevitable Figuration, Centro per l’arte contemporanea Luigi Pecci, Prato, Italy (2013); and New York Minute, MACRO Future, Rome, Italy (2009). In 2017, a monographic exhibition will be organized at the Albright-Knox Art Gallery, Buffalo, USA.



Selected press