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Joe Bradley

Joe Bradley, The Fisherman’s Friend, 2005 Acrylic on canvas, 105 ½ × 36 inches (268 × 91.4 cm)© Joe Bradley

Joe Bradley, The Fisherman’s Friend, 2005

Acrylic on canvas, 105 ½ × 36 inches (268 × 91.4 cm)
© Joe Bradley

Joe Bradley, Kilroy 2, 2007 Stretched vinyl, in 2 parts, overall: 74 × 78 inches (188 × 198.1 cm)© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Kilroy 2, 2007

Stretched vinyl, in 2 parts, overall: 74 × 78 inches (188 × 198.1 cm)
© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Pig Pen, 2010 Oil, spray paint, and mixed media on canvas, 85 × 64 inches (215.9 × 162.6 cm)© Joe Bradley

Joe Bradley, Pig Pen, 2010

Oil, spray paint, and mixed media on canvas, 85 × 64 inches (215.9 × 162.6 cm)
© Joe Bradley

Joe Bradley, Erased Freek, 2010 Oil, spray paint, and mixed media on canvas, 88 × 66 inches (223.5 × 167.6 cm)© Joe Bradley

Joe Bradley, Erased Freek, 2010

Oil, spray paint, and mixed media on canvas, 88 × 66 inches (223.5 × 167.6 cm)
© Joe Bradley

Joe Bradley, All Duck, 2010 Oil on canvas, 79 × 69 inches (200.7 × 175.3 cm)© Joe Bradley

Joe Bradley, All Duck, 2010

Oil on canvas, 79 × 69 inches (200.7 × 175.3 cm)
© Joe Bradley

Joe Bradley, Flattop, 2011 Oil on canvas, 76 × 93 inches (193 × 236.2 cm)© Joe Bradley

Joe Bradley, Flattop, 2011

Oil on canvas, 76 × 93 inches (193 × 236.2 cm)
© Joe Bradley

Joe Bradley, Mash Potato, 2011 Mixed media on canvas, 90 × 77 inches, (228.6 × 195.6 cm)© Joe Bradley

Joe Bradley, Mash Potato, 2011

Mixed media on canvas, 90 × 77 inches, (228.6 × 195.6 cm)
© Joe Bradley

Joe Bradley, Bukkah Beah, 2012 Oil on canvas, 116 × 134 ⅛ inches (294.6 × 340.7 cm)© Joe Bradley

Joe Bradley, Bukkah Beah, 2012

Oil on canvas, 116 × 134 ⅛ inches (294.6 × 340.7 cm)
© Joe Bradley

Joe Bradley, Untitled, 2013 Graphite, colored pencil, and tape on paper, 24 × 17 ⅜ inches (61 × 44.1 cm)© Joe Bradley

Joe Bradley, Untitled, 2013

Graphite, colored pencil, and tape on paper, 24 × 17 ⅜ inches (61 × 44.1 cm)
© Joe Bradley

Joe Bradley, Untitled, 2013 Charcoal on paper, 24 × 35 ¾ inches (61 × 90.8 cm)© Joe Bradley

Joe Bradley, Untitled, 2013

Charcoal on paper, 24 × 35 ¾ inches (61 × 90.8 cm)
© Joe Bradley

Joe Bradley, Untitled, 2013 Charcoal on paper, 24 × 18 inches (61 × 45.7 cm)© Joe Bradley

Joe Bradley, Untitled, 2013

Charcoal on paper, 24 × 18 inches (61 × 45.7 cm)
© Joe Bradley

Joe Bradley, Untitled, 2013 Charcoal on paper, 18 × 24 inches (45.7 × 61 cm)© Joe Bradley

Joe Bradley, Untitled, 2013

Charcoal on paper, 18 × 24 inches (45.7 × 61 cm)
© Joe Bradley

Joe Bradley, Repo, 2013 Oil on canvas, 102 × 120 ¼ inches (259.1 × 305.4 cm)© Joe Bradley

Joe Bradley, Repo, 2013

Oil on canvas, 102 × 120 ¼ inches (259.1 × 305.4 cm)
© Joe Bradley

Joe Bradley, Love Boat, 2013 Oil on canvas, 124 × 158 inches (315 × 401.3 cm)© Joe Bradley

Joe Bradley, Love Boat, 2013

Oil on canvas, 124 × 158 inches (315 × 401.3 cm)
© Joe Bradley

Joe Bradley, Dutch, 2013 Oil on canvas, 112 ½ × 108 inches (285.8 × 274.3 cm)© Joe Bradley

Joe Bradley, Dutch, 2013

Oil on canvas, 112 ½ × 108 inches (285.8 × 274.3 cm)
© Joe Bradley

Joe Bradley, Untitled, 2013 Charcoal on paper, 24 × 18 inches (61 × 45.7 cm)© Joe Bradley

Joe Bradley, Untitled, 2013

Charcoal on paper, 24 × 18 inches (61 × 45.7 cm)
© Joe Bradley

Joe Bradley, Untitled, 2014 Charcoal on paper, 18 × 24 inches (45.7 × 61 cm)© Joe Bradley

Joe Bradley, Untitled, 2014

Charcoal on paper, 18 × 24 inches (45.7 × 61 cm)
© Joe Bradley

Joe Bradley, Heavy Depper, 2014 Oil on canvas, 130 × 144 inches (330.2 × 365.8 cm)© Joe Bradley

Joe Bradley, Heavy Depper, 2014

Oil on canvas, 130 × 144 inches (330.2 × 365.8 cm)
© Joe Bradley

Joe Bradley, Untitled, 2015 Oil on canvas, 96 × 62 inches (243.8 × 157.5 cm)© Joe Bradley

Joe Bradley, Untitled, 2015

Oil on canvas, 96 × 62 inches (243.8 × 157.5 cm)
© Joe Bradley

Joe Bradley, Coachwhip, 2015 Oil on canvas, 105 × 132 inches (266.7 × 335.3 cm)© Joe Bradley

Joe Bradley, Coachwhip, 2015

Oil on canvas, 105 × 132 inches (266.7 × 335.3 cm)
© Joe Bradley

Joe Bradley, Club Foot, 2015 Oil on canvas, 76 ⅛ × 67 ⅛ inches (193.4 × 170.5 cm)© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Club Foot, 2015

Oil on canvas, 76 ⅛ × 67 ⅛ inches (193.4 × 170.5 cm)
© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Baba, 2016 Oil on canvas, 79 ⅛ × 93 ⅛ inches (201 × 236.5 cm)© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Baba, 2016

Oil on canvas, 79 ⅛ × 93 ⅛ inches (201 × 236.5 cm)
© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Day by Day, 2017 Oil on canvas, 82 ⅛ × 97 ¼ inches unframed (208.6 × 247 cm)© Joe Bradley. Photo: Jeff McLane

Joe Bradley, Day by Day, 2017

Oil on canvas, 82 ⅛ × 97 ¼ inches unframed (208.6 × 247 cm)
© Joe Bradley. Photo: Jeff McLane

Joe Bradley, Untitled, 2016 Charcoal on paper, 23 ¾ × 35 ¼ inches (60.3 × 89.5 cm)© Joe Bradley. Photo: Robert McKeever

Joe Bradley, Untitled, 2016

Charcoal on paper, 23 ¾ × 35 ¼ inches (60.3 × 89.5 cm)
© Joe Bradley. Photo: Robert McKeever

Joe Bradley, For Arthur Doyle, 2016 Wood, lamp, and acrylic paint, 10 ½ × 17 ⅝ × 7 ¾ inches (26.7 × 44.8 × 19.7 cm)© Joe Bradley. Photo: Rob McKeever

Joe Bradley, For Arthur Doyle, 2016

Wood, lamp, and acrylic paint, 10 ½ × 17 ⅝ × 7 ¾ inches (26.7 × 44.8 × 19.7 cm)
© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Untitled, 2016 Wood and acrylic paint, 14 ¾ × 13 ½ × 5 ⅜ inches (37.5 × 34.3 × 13.7 cm)© Joe Bradley. Photo: Rob McKeever

Joe Bradley, Untitled, 2016

Wood and acrylic paint, 14 ¾ × 13 ½ × 5 ⅜ inches (37.5 × 34.3 × 13.7 cm)
© Joe Bradley. Photo: Rob McKeever

About

I think that painting relates very neatly to inner travel and the exploration of inner worlds. With painting, I always get the impression that you’re sort of entering into a shared space. There’s everyone who’s painted in the past, and everyone who is painting in the present. 
—Joe Bradley

In his paintings, drawings, sculptures, and mixed-media works, Joe Bradley has produced a visual language that oscillates freely between personal and art historical references. Constantly reinventing himself, he cycles through some of the most iconic modes of abstraction, investigating Minimalist questions of color and form, tapping into the spontaneous gesture of Abstract Expressionism, and creating cryptic signs and symbols in ingenious, lively drawings.

Bradley earned his BFA from the Rhode Island School of Design in 1999 and had his first gallery show in New York in 2003. Just three years later he had his first solo exhibition at MoMA PS1, which included boldly painted monochromatic canvases arranged in geometric formations. These modular paintings investigate the ways that colors exist in relation to each other and to negative space, while subtly evoking architectural structures and human or robotic figures. In recent works Bradley paints fragments of unprimed canvas on the floor, collecting studio debris in swaths of color. Imbuing abstraction with a tactile immediacy, he applies the oil paint in thick layers to create captivating, tessellated compositions.

In his drawing practice Bradley uses such unorthodox materials as cardboard scraps, loose paper, and even sticky notes. While artistic precedents appear to be among his works’ influences and inspirations, they never settle into certainty. In many ways Bradley holds a mirror up to the art world itself, finding humor in the ever-shifting trends and traditions of recent art history. One aspect of his practice that remains constant is his emphasis on process: the intuitive motions of the artist’s hand, as well as the effects of material, memory, and environment. For his Schmagoo Paintings (2008), Bradley drew invented symbols and doodles with grease pencil on raw canvas, presenting lighthearted subject matter with a direct, gestural confidence. Though vaguely familiar—recalling children’s drawings, comic book sketches, cave paintings, and ideograms—the images are devoid of specific meaning, exploring the very implications of the creative act.

Fairs, Events & Announcements

Tom Wesselmann, Sunset Nude with Wesselmann Still Life, 2004 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York

Art Fair

Art Basel Miami Beach 2019

December 5–8, 2019, booth D7
Miami Beach Convention Center
www.artbasel.com

Gagosian is pleased to participate in Art Basel Miami Beach 2019 with modern and contemporary artworks by Richard Avedon, Georg Baselitz, Jean-Michel Basquiat, Joe Bradley, Cecily Brown, John Chamberlain, John Currin, Edmund de Waal, Rachel Feinstein, Urs Fischer, Helen Frankenthaler, Ellen Gallagher, Theaster Gates, Katharina Grosse, Mark Grotjahn, Jennifer Guidi, Simon Hantaï, Damien Hirst, Alex Israel and Bret Easton Ellis, Ellsworth Kelly, Jeff Koons, Roy Lichtenstein, Man Ray, Peter MarinoAdam McEwenJoan MitchellTakashi MurakamiAlbert OehlenSteven ParrinoPablo Picasso, Rudolf Polanszky, Richard PrinceSterling RubyEd RuschaRichard SerraRudolf StingelCy TwomblyAndy WarholMary WeatherfordTom WesselmannJonas WoodChristopher Wool, and Zao Wou-Ki, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at www.artbasel.com.

Download the full press release (PDF)

Tom Wesselmann, Sunset Nude with Wesselmann Still Life, 2004 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York

The Extreme Present

Exhibition

The Extreme Present

Opening reception: Tuesday, December 3, 5–8pm
December 4–8, 2019
Moore Building, Miami

Gagosian is pleased to announce The Extreme Present, the fifth in a series of annual exhibitions at the Moore Building in the Miami Design District during Art Basel Miami Beach, presented by Gagosian and Jeffrey Deitch. The Extreme Present will explore artists’ reactions to the conditions of our accelerating and increasingly complex world. The title is inspired by The Age of Earthquakes: A Guide to the Extreme Present, a book by Shumon Basar, Douglas Coupland, and Hans Ulrich Obrist, published in 2015. Their provocative thesis addresses the rapidly evolving digital era, half a century after Marshall McLuhan’s groundbreaking study on technology’s influence on culture, Understanding Media: The Extensions of Man, in which he coined the phrase “the medium is the message.” Works in this exhibition explore concepts of media, communication, togetherness, and isolation.

Download the full press release (PDF)

The Extreme Present

Joe Bradley, Daylight, 2019 © Joe Bradley

Art Fair

West Bund Art & Design 2019

November 8–10, 2019, booth A121
West Bund Art Center, Shanghai
westbundshanghai.com

Gagosian is pleased to participate in West Bund Art & Design 2019, presenting works by Georg BaselitzJoe BradleyUrs FischerHelen FrankenthalerMark GrotjahnDamien HirstThomas Houseago, Robert Indiana, Jeff KoonsJoan MitchellNam June PaikRichard PrinceSterling RubyEd RuschaMark TanseyMary WeatherfordTom Wesselmann, and Jonas Wood, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com.

Download the full press release in English (pdf)Simplified Chinese (pdf), or Traditional Chinese (pdf)

Joe Bradley, Daylight, 2019 © Joe Bradley

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Museum Exhibitions

Joe Bradley, JJ Ram, 2018 © Joe Bradley

Closed

Joe Bradley, Oscar Tuazon, Michael Williams

May 14–September 18, 2018
Brant Foundation Art Study Center, Greenwich, Connecticut
brantfoundation.org

The Brant Foundation’s spring exhibition will feature work by Joe Bradley, Oscar Tuazon, and Michael Williams.

Joe Bradley, JJ Ram, 2018 © Joe Bradley

Joe Bradley, Bishop, 2016

Closed

Joe Bradley

October 15, 2017–January 28, 2018
Rose Art Museum, Waltham, Massachusetts
www.brandeis.edu

This is the first large-scale museum exhibition in North America devoted to the work of Joe Bradley. Included are his expressionistic canvases that record the detritus and spontaneity of the studio environment; subtly figurative send-ups of Minimalist painting; starkly primitive glyphs drawn in grease pencil on unprimed canvas and related drawings on paper; graphic silkscreen paintings; and modular Minimalist aluminum sculptures that Bradley pairs with textual directives. The exhibition traveled from the Albright-Knox Art Gallery in Buffalo, New York.

Joe Bradley, Bishop, 2016

Joe Bradley, Pigpen (#2), 2010

Closed

Animal Farm

May 14–October 1, 2017
Brant Foundation Art Study Center, Greenwich, Connecticut
brantfoundation.org

Animal Farm is a group exhibition curated by artist and musician Sadie Laska. A selection of works sketch a story that slides from figurative iconography to totemic abstraction, charting a world in churn; in print, in space, and on canvas. The show includes work by Jean-Michel Basquiat and Joe Bradley.

Joe Bradley, Pigpen (#2), 2010

Joe Bradley, Good World, 2017

Closed

Joe Bradley

June 24–October 1, 2017
Albright-Knox Art Gallery, Buffalo, New York
www.albrightknox.org

This is the first large-scale museum exhibition in North America devoted to the work of Joe Bradley. Included are his expressionistic canvases that record the detritus and spontaneity of the studio environment; subtly figurative send-ups of Minimalist painting; starkly primitive glyphs drawn in grease pencil on unprimed canvas and related drawings on paper; graphic silkscreen paintings; and modular Minimalist aluminum sculptures that Bradley pairs with textual directives.

Joe Bradley, Good World, 2017

Press