Joe Bradley, Out Joy (2017), via Art Observed

Currently on at Gagosian Beverly Hills, artist Joe Bradley is presenting a body of new works, continuing the artist’s complex and occasionally irreverent visual language through a wide range of formats and materials.  Marking the gallery’s most recent entry in its annual Oscars Weekend exhibition series, the exhibition is the artist’s first solo show with the gallery in Los Angeles, a fitting introduction to his work that draws widely from his recent output.

Joe Bradley, Eric’s Hair (Installation View), via Art Observed

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Andy Warhol, 20 Pink Maos (1979), via Phillips

Complementing the offering of new works across town at Regent’s Park, Phillips London has opened a week of auctions around Frieze Week, closing out its 30-lot sale this evening with a consistent sale, seeing 6 of the evening’s 30 lots go unsold to reach a final tally of £17,867,750. (more…)

Kenneth Noland, Adjoin (1980), via Art Observed © Estate of Kenneth Noland/Licensed by VAGA, New York, NY www.vagarights.com

Like many of the forms of 20th Century abstraction, the shaped canvas invites both dedication and constant reinvention, a technical fold in the painterly language that allows an artist to work between the picture plane/mark-making relationship of traditional practice, and the more sculptural elements of the art form that have developed alongside critical reappraisals of the medium since the historical avant-garde.  Twisting the canvas and the artist’s gestural vocabulary around edges and into curious re-examinations of space, it has remained a core element of the craft ever since the advent of minimalism pushed a new language of space both within the canvas, and around it.   (more…)

Joe Bradley is profiled in the New York Times this week, as the artist prepares to open his first show of new paintings with Gagosian Gallery in New York.  “Oil paint has so much life. It really behaves like it wants to behave,” he says. “You’ll go into a painting with an idea of what you want to do, and 40 seconds later your plan has been upended. You always have to deal with these little skirmishes on the canvases.” (more…)

Carroll Dunham, Mound A (1991-1992), via Art Observed

Flexing his curatorial muscle at both Skarstedt Gallery locations in New York, David Salle has compiled an intriguing collection of recent paintings by a vastly diverse group of artists, and examines their shared interests in the grounds of abstract painting: formal concerns of size, scale and focus, in combination with the compositional elements of color, contrast and hue. (more…)

Joe Bradley is reportedly leaving Gavin Brown’s Enterprise and Eva Presenhuber for Gagosian Gallery, the Observer reports.  The news comes on the heels of the artist’s inclusion in last year’s Forever Now painting show at MoMa, and a recent profile in W Magazine.   (more…)

Joe Bradley, Duckling Fantasy (2011) installation view, courtesy Almine Rech.

Joe Bradley’s “Duckling Fantasy” is currently on show at Paris’s Almine Rech Gallery.  The exhibition consists of new, somewhat large-scale paintings from oil, oil sticks and pencils, that continue Bradley’s interest in color and dirt.

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February 22nd opening and installation view at The Journal Gallery. All photos by Daniel Terna of Art Observed unless otherwise noted

Immediately following his two simultaneous exhibitions at CANADA gallery and Gavin Brown Enterprise, the all-pervasive Joe Bradley crops up once again with a solo exhibition at The Journal Gallery. This exhibition of thirteen small drawings quietly accompanies his large-scale paintings on view at Gavin Brown and CANADA earlier this month, and provides a subtle glimpse at the artistic process behind Bradley’s larger work. Ranging from the purely abstract to the purely absurd, the drawings in this exhibition feature suggestive profiles, curious lines, and pseudo-juvenile pictography that is characteristic of Bradley’s oeuvre.

Joe Bradley, Untitled (2010).

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Joe Bradley, Struth (2010). Via Gavin Brown’s Enterprise

American artist Joe Bradley is showing his work simultaneously at two New York Galleries: Gavin Brown’s Enterprise and Canada Gallery on the Lower East Side. Each gallery exhibits works by the artist in a completely different style. For his first show at Gavin Brown’s Enterprise, Bradley shows large colorful abstract paintings made with oil sticks instead of paint brushes. The canvases are full of the artist’s footprints, dirt, dust, references to comic book characters, and abstract expressionist and primitivist symbolism. At Canada, his longtime art gallery, he gives viewers large black and white silkscreens of male silhouettes.

Joe Bradley, Human Forms (2011). Via Canada Gallery

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Left: Self-Portrait Smoking Pot (In the style of Joe Bradley), Chris Martin (2009-2010) Right: Portrait of Joe Bradley, Chris Martin (2009)

Currently on show at Mitchell-Innes & Nash is a two person show featuring Joe Bradley and Chris Martin. The austere, often bare canvases by Bradley offer a dramatic contrast to the characteristically large, boisterous works exhibited by Chris Martin and so presented side-by-side, like a lecture in Art History, contrasting these sensibilities offers the viewer an opportunity explore the wide spectrum of today’s approach to the painting practice and, in turn, raises the question of movements in Contemporary art. The exhibition marks a continuation of an ongoing dialogue between the two artists from an interview published in ‘The Journal’ in Fall 2009 in which the two discuss an artists freedom to create without really knowing what it is they’re doing.

Untitled, Joe Bradley (2010)

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Image via tfaoi.com

On November 16th the 2008 Biennial Artists were announced. The curatorial team stressed a broader take on the American Art scene, moving away from the post-punk sway exhibited in 2006. This expansion primarily pertains to the genres and mediums covered within the biennial, not the physical number of artists, as there were 100 artists selected in 2006 compared with 81 for 2008’s Biennial. Also unique to the upcoming show, is the use of the Armory space on Park and 67th, primarily for perfomance and interactive exhibitions.
Headliners include John Baldessari, Robert Bechtle, Mary Heilmann, Michael Smith and Sherrie Levine.

ArtNews
Whitney.org
NYTimes
Full list of artists after the jump. (more…)