This article has multiple issues. Please help improve it or discuss these issues on the talk page . (Learn how and when to remove these messages)
|
Dove Bradshaw | |
---|---|
Born | September 24, 1949 New York City |
Nationality | American |
Education | The School of the Museum of Fine Arts, Boston / Tufts University, BFA and Fifth Year Competition; Boston University |
Known for | Sculpture, installation, photography, performance, video and film |
Dove Bradshaw (born September 24, 1949) is an American artist known for her diverse works. She has crafted chemical paintings that dynamically interact with the atmosphere, erosion sculptures made from salt, and stone sculptures that evolve due to weathering. Additionally, Bradshaw has explored the utilization of crystals that receive radio transmissions, including weather data from both local stations and shortwave signals, as well as signals from radio telescopes monitoring Jupiter.
Her notable mid-career exhibitions include:
Bradshaw's work has gained recognition by being included in the permanent collections of various prestigious institutions, including the Museum of Modern Art, the Metropolitan Museum of Art, the National Gallery in the United States, the British Museum in Europe, and the Russian State Museum (Marble Palace) in Russia. She regularly participates in international exhibitions and has notably contributed to events such as the Gwangju Biennale in South Korea. She has also held solo exhibitions, including one in Tokyo.
Dove Bradshaw was born in New York City. She graduated from the College of General Studies, Boston University, and received a BFA from the Boston Museum School of Fine Arts/Tufts University.
She has had residencies at:
2011 | Niels Borch Jensen, Printmaker, Copenhagen |
2008 | Niels Borch Jensen, Printmaker, Copenhagen |
2007 | The Spirit of Discovery 1 and 2 in Trancoso, Portugal Pont-Aven School of Contemporary Art, France (teaching and resident artist) |
2006 | The Spirit of Discovery 1 and 2 in Trancoso, Portugal |
2005 | Niels Borch Jensen, Printmaker, Copenhagen |
2003 | Palazzo Durini, Bolognano, Italy |
2000–2001 | Niels Borch Jensen, Printmaker, Copenhagen Statens Vaerksteder for Kunst and Handvaerark, Gammel Dok, Copenhagen, [1] in conjunction with exhibitions: Elements, Stalke Gallery, Copenhagen, and Anastasi Bradshaw Cage at the Museum of Contemporary Art, Roskilde, Denmark |
2000 | The Sirius Art Center, Cobh, Ireland, inaugurated outdoor sculpture court with placement of Notation II |
1995 | The Pier Arts Centre, Orkney, Scotland. [2] Accompanying the exhibition were Contingency, Passion, 1993 and Indeterminacy, 1995 – situated in the permanent collection in the Pier Sculpture Court |
Taking inspiration from the work of composer John Cage, Bradshaw allows natural forces to act upon her works. Her first work in this regard was a 1969 installation entitled Plein Air, in which a pair of mourning doves were introduced to hanging bicycle wheels and floor-mounted targets.
Other ways in which her work has incorporated indeterminacy into its nature are the chance positioning of work, the use of materials particularly susceptible to weather and indoor atmosphere, the gradual erosion by water of salt and stone, and the use of inherently unstable substances such as acetone, mercury, and sulfur.
One of her ongoing indeterminate works is Performance. In 1976 Bradshaw “claimed” a fire hose in the Metropolitan Museum of Art. She mounted a guerrilla wall label beside the hose and placed copies of a self-published postcard in the museum shop. In recognition of her claim, an official museum postcard was issued of the work in 1992, and in 2006, Dadaist collector Rosalind Jacobs acquired the label placed by Bradshaw. Jacobs donated this piece to the Metropolitan Museum, which accepted the piece as part of their permanent collection in 2007.
Bradshaw's fusion of scientific exploration with art practice has been incorporated into the Process and Art/Science Movements. In this vein, she made the chemically activated silver Contingency Paintings that are sensitive to atmospheric conditions. Weather serves as a catalyst slowly capturing transient metamorphoses in what she calls Time Sculptures in marble, pyrite, calcstone, and copper, in the Indeterminacy, Material/Immaterial, and Notation Series. In the Negative Ions, Six Continents and Waterstones works, Bradshaw plots the gradual erosion of salt and stone with water as the transformative agent. Time is the counterpoint. She has said, “Poetry is everywhere evident and therefore one only needs present materials.”
An early survey, Works 1969–1984 was shown at Syracuse University, Utica, New York in 1984. Bradshaw has had three mid-career exhibitions: Dove Bradshaw 1988–1998 at the Museum of Contemporary Art, Los Angeles; Dove Bradshaw, Form formlessness, 1969–2003 at City University of New York; and Time Matters 1969–2008 at the Pierre Menard Gallery, Cambridge, Massachusetts. She is represented in the permanent collections of numerous museums in America and Europe, including one in Russia.[ citation needed ] She also regularly exhibits internationally.[ citation needed ]
In June 2006, Bradshaw was commissioned by Baronessa Lucrezia Durini to execute Radio Rocks as a permanent installation in Bologna.[ citation needed ] Galena and pyrite tuners continuously draw local, shortwave and outer space signals echoing the Big Bang. In May 2008, Larry Becker Contemporary Art in Philadelphia hosted the first gallery installation, which added a live reception from radio telescopes of storms and other radio emissions from the planets.[ citation needed ]
In the fall of 2006, sponsored by Shu Uemura of Shu Uemura Cosmetics, she traveled to Asia for the first time exhibiting in Tokyo's Gallery 360°.[ citation needed ]
For the 6th Gwangju Biennale in South Korea she presented Six Continents, with salt taken from each of the continents.[ citation needed ]
Bradshaw was included in the Solomon R. Guggenheim Museum's American Artists Contemplate Asia, 1860–1989, a solo exhibition at Senzatitolo Associazione Culturale, Rome, inclusion in Elements at The Chemical Heritage Museum, Philadelphia for The Year of Chemistry 2011.[ citation needed ]
She has curated four group exhibitions in memory of Sol LeWitt, ONE at Bjorn Ressle Gallery, New York, 2007, ONE More at the Esbjerg Art Museum, Esbjerg, Denmark, 2008 which was rebuilt for Thomas Rehbein Gallery, Cologne in January, 2009 and ONE, Six Americans/Six Danes Stalke Up North, Copenhagen, 2009. Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, Tobey: Imitating Nature in her Manner of Operation, Sandra Gering Gallery, 1991; 8 Painters: 2005
Anastasi Bradshaw Cage Cunningham, curators: Marianne Bech and Dove Bradshaw, The University Art Museum, The University of California at San Diego; Anastasi Bradshaw Cage Cunningham, curators: Marianne Bech and Dove Bradshaw, The Bayly Museum, The University of Virginia, Charlottesville, Virginia; 2001; Anastasi, Bradshaw, Cage, curators: Marianna Bech and Dove Bradshaw, Museum of Contemporary Art, Roskilde, Denmark, Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, Tobey, Sandra Gering Gallery, New York, 1990; 8 Painters:Jon Abbot, William Anastasi, Dove Bradshaw, Dana Gordon, Bruce Halpin, Carl Kielblock, Theodoros Stamos, Douglas Vogel, The Ericson Gallery, New York, 1981
Originally not conceived as art, this work began with a gift of a pair of Ring-necked Mourning doves and led to the design of their environment. The doves were given free rein of the artist's studio. A bicycle wheel was hung for a perch, with an adaptation of a Zen archer's target nailed to the floor below. The material trace of the work lay in photographs and 1969 bronze and silver casts of broken eggshells. [4]
The first exhibition was at the Boston Museum School of Fine Arts in 1969. In 1989, it opened at the Sandra Gering Gallery in New York, and then it opened at the Mattress Factory Museum, Pittsburgh in 1990, and PS1 Contemporary Art Center, New York, in 1991. This was the artist's first sound sculpture—most apparent in the PS1 exhibition. Every day, after eating and preening, one of four birds flew to each corner room-support near the ceiling. Beginning with out-of-phase rounds they gradually came into sync after three-quarters of an hour, winding their song into a hypnotic crescendo nearing the hour. A pause followed, then softly they would start again, and repeated this pattern many times.
The Contingency Series is Bradshaw's first significant body of two-dimensional work. Beginning in 1984, instead of paint she began using materials reactive to the environment. [5]
Silver, which itself is subject to air, light and humidity, became the ground; liver of sulfur the chemical agent; and metal plates, wood, paper, linen, and the wall itself the various supports. The works range in size from a three and a half inch leaf on paper to paintings five feet in height and width. The appearance and composition of these works changes over time as reactions between the materials and environment occur.
The amount of chemicals used in each piece significantly affects the outcome. Black comes up faster if the solution is dense, yet if it pools, an ashy white appears, flaking at its edges. Fire seems to be the reference. With rain the works sweat—-drip lines become visible pouring from denser pools. Silver and sulfur, alchemical elements, are used because they are highly volatile.
As the artist explains, the process itself could be related to photography: the silver to the emulsion, the liver of sulfur to the developer. Although without using a fixer, the exposure is open-ended.
These paintings deal with themes of perishability and change. They consist of various chemicals, powdered pigments, ink, and varnish poured and dripped on the canvas. As a Danish reviewer wrote, “What the elements will do to one another only time will tell. The fusion between the materials is the essential – [like] the fusion between culture and nature. Bradshaw facilitates it, but after that, the work is out of her hands. It is nature that takes over." [6]
After Bradshaw's environmentally reactive works which were the two-dimensional Contingency Series, she searched for a way to make sculptures that would be similarly reactive, but would also change shape. [7]
The first work was a relief, a wall-embedded copper bar titled Passion. It was treated with acetic acid, which left a running stain down the wall. The first outdoor version (1995) was set in the exterior wall of the Pier Art Center, Stromness, Orkney, Scotland. The island atmosphere greatly assisted a natural bleed.
The Notation sculptures consist of copper or bronze cubes or prisms set on marble or limestone and left outdoors to weather. Smaller indoor versions were assisted with ammonium chloride copper sulfate to prompt a bleed.
The Indeterminacy Stones, begun in 1994, consisted of a chunk of pyrite, set atop a piece of marble, and then left outdoors to weather. The pyrite transformed into limonite when exposed to the elements, leaving a permanent iron rust stain. It may take less than ten years or over a century to dissolve depending on composition and environment. For the first exhibition of these works at Sandra Gering Gallery, New York, 1995, three boulders were gathered—one flat, one vertical, one wedge-shaped.
Ann Barclay Morgan, writing about work in Sculpture Magazine, commented “…the action of “bleeding”…could be seen as the female life-force in the process of being released. The transformation into the deep-colored limonite lends a sensuous quality to the marble....Bradshaw's use of Vermont marble [also] had intriguing implications. This material appears to embody a freeing from the confining notion of purity, emblematic of Carrara marble, toward the reality of life suggested by the veining of the marble itself, calling to mind the arteries of the human body that become more visible with age.”
The Material/Immaterial Stones, made in Denmark, coupled local spring and aged calcstone and produced a white bleed on a dark stone.
Radio Rocks are made up of three different kinds of stones each piled into cairns that in Neolithic times were used as astronomical markers. Bradshaw's cairns, in addition to recalling their ancient use, focus on the aspect of sound by functioning as multi-directional antennas. [8]
In each of these sculptures there are three radios designed to receive frequencies from three different zones. On top of one is a pyrite mixer designed to receive live emissions from Jupiter transmitted via a dedicated line from the radio telescope at Pisgah Astronomical Research Institute in Rosman, North Carolina. On one side, a galena mixer picked up a world-band short wave. On the other hand, a receiver developed by the satellite industry drew live microwaves identified as echoes of the Big Bang. The other two cairns featured fluorite, tourmaline and hematite, acting as non-linear mixers, were computer programmed to attract random local and world-band frequencies. The hematite mixer continuously channeled Weather Radio. Levels of all the radios were set at a murmur. The outer space sounds invoke celestial harmonies that from the quieter time of Pythagoras have been referred to as the “Music of the Spheres.” [9]
Six Continents at the 6th Gwangju Biennale, Gwangju, South Korea, 2006 consists of six sculptures made from salt taken from each continent, funnels and water. The various salts, colored by minerals from each locale, react differently when subjected to water. Each sculpture is made of a 150-pound salt mound placed under a suspended funnel, each calibrated to release 7 drops per minute. The salt comes from:
The work premiered at Larry Becker Contemporary Art, Philadelphia, 2005 and traveled to SolwayJones, Los Angeles later that year. [10]
Marc Quinn is a British contemporary visual artist whose work includes sculpture, installation, and painting. Quinn explores "what it is to be human in the world today" through subjects including the body, genetics, identity, environment, and the media. His work has used materials that vary widely, from blood, bread and flowers, to marble and stainless steel. Quinn has been the subject of solo exhibitions at Sir John Soane's Museum, the Tate Gallery, National Portrait Gallery, Fondation Beyeler, Fondazione Prada, and South London Gallery. The artist was a notable member of the Young British Artists movement.
Mercier Philip "Merce" Cunningham was an American dancer and choreographer who was at the forefront of American modern dance for more than 50 years. He frequently collaborated with artists of other disciplines, including musicians John Cage, David Tudor, Brian Eno, and graphic artists Robert Rauschenberg, Bruce Nauman, Andy Warhol, Roy Lichtenstein, Frank Stella, and Jasper Johns; and fashion designer Rei Kawakubo. Works that he produced with these artists had a profound impact on avant-garde art beyond the world of dance.
The New York School was an informal group of American poets, painters, dancers, and musicians active in the 1950s and 1960s in New York City. They often drew inspiration from surrealism and the contemporary avant-garde art movements, in particular action painting, abstract expressionism, jazz, improvisational theater, experimental music, and the interaction of friends in the New York City art world's vanguard circle.
Alison Knowles is an American visual artist known for her installations, performances, soundworks, and publications. Knowles was a founding member of the Fluxus movement, an international network of artists who aspired to merge different artistic media and disciplines. Criteria that have come to distinguish her work as an artist are the arena of performance, the indeterminacy of her event scores resulting in the deauthorization of the work, and the element of tactile participation. She graduated from Pratt Institute in New York with an honors degree in fine art. In May 2015, she was awarded an honorary doctorate degree by Pratt.
Nancy Graves was an American sculptor, painter, printmaker, and sometime filmmaker known for her focus on natural phenomena like camels or maps of the Moon. Her works are included in many public collections, including those of the National Gallery of Art, the Brooklyn Museum of Art, the Smithsonian American Art Museum, the National Gallery of Australia (Canberra), the Des Moines Art Center, Walker Art Center (Minneapolis), and the Museum of Fine Arts. When Graves was just 29, she was given a solo exhibition at the Whitney Museum of American Art. At the time she was the youngest artist, and fifth woman to achieve this honor.
William Anastasi was an American visual artist working in a wide range of media including drawing, painting, sculpture, photographic works, and text. He lived and worked in New York City from the early 1960s and was known as "one of the most underrated conceptual artists of his generation".
Pat Steir is an American painter and printmaker. Her early work was loosely associated with conceptual art and minimalism, however, she is best known for her abstract dripped, splashed and poured "Waterfall" paintings, which she started in the 1980s, and for her later site-specific wall drawings.
Thomas McEvilley was an American art critic, poet, novelist, and scholar. He was a Distinguished Lecturer in Art History at Rice University and founder and former chair of the Department of Art Criticism and Writing at the School of Visual Arts in New York City.
Jane Simpson is a British artist who lives and works in Carmarthenshire. She primarily produces sculptures, using diverse elements such as ice, silicone rubber, wood, precious metals, glass, ceramics and household objects including items bought at flea markets and on eBay.
Tanya Preminger, is an artist working in various media: environmental art, site-specific art, ephemeral art, sculpture, installation and photography. She is mostly known for her land art projects and large-scale stone sculptures.
Sigalit Landau is an Israeli sculptor, video and installation artist.
David Bradshaw is an American artist based in Cecilia, Louisiana, and East Charleston, Vermont. He is a painter, sculpture, and printmaker.
Elizabeth Turk is an artist and native Californian known for her marble sculptures and community installations. She splits time between a studio in Santa Ana, CA and NYC, where she has been represented by Hirschl & Adler Modern since her first exhibition in 2000. She is a MacArthur “Genius” Fellow, a Smithsonian Artist Research Fellow, an Annalee & Barnett Newman Foundation and Joan Mitchell Foundation grant recipient, among other awards.
Actual Art is a genre of art that was first named by critic Alfred Frankenstein of the San Francisco Chronicle in a review of Helene Aylon’s work. The name was chosen because the art was "real", but the term realism was already in use. Frankenstein described Aylon's work as a genre of art that involves “the self-conscious enlistment of the forces of nature, by artists, toward the completion of their art”. Collaboration with nature necessarily brings the dimension of time into as an integral component of the artworks, with some requiring many thousands of years for their completion. The artists consider the future of the work to be as important as its present, relinquishing control over the work to nature.
Patricia Cronin is a New York-based feminist cross-disciplinary artist. Since the early-1990s, Cronin has garnered international attention for her photographs, paintings and sculptures that address contemporary human rights issues. Cronin's conceptual artistic practice transits across many aesthetic platforms addressing social justice issues of gender, sexuality and class, including: lesbian visibility, feminist art history, marriage equality and international rights of women and LGBTQ+ people. She subverts traditional art images and forms in a wide range of two and three-dimensional time-honored artists' materials and breathes new life into these images and forms by injecting her specific political content. Her critically acclaimed statue, "Memorial To A Marriage", is the first and only Marriage Equality monument in the world. A 3-ton Carrara marble mortuary sculpture of her life partner and herself was made before gay marriage was legal in the U.S., and has been exhibited widely across the country and abroad. Cronin began her career working for the Anne Frank Stichting (Foundation)Archived 2015-10-25 at the Wayback Machine in Amsterdam installing the traveling exhibition "Anne Frank in the World" in Europe and the U.S. Giving presence to female absence is a consistent thread that runs through and connects each body of work.
Nancy Dwyer is an American contemporary artist whose works include paintings, works on paper, public art, word sculpture and furniture art. Her work has been exhibited widely at venues including the Whitney Museum of American Art, the Museum of Contemporary Art, Los Angeles, the Contemporary Arts Museum in Houston, the New Museum in New York and many others. Her work was included in the 2009 exhibition “The Pictures Generation” at the Metropolitan Museum of Art in New York, alongside the work of her peers and contemporaries, including Cindy Sherman and Robert Longo, with whom she cofounded Hallwalls in Buffalo, New York in 1974, as well as work by Barbara Kruger, Richard Prince, John Baldessari, Louise Lawler and Sherrie Levine, among others.
Moira Dryer (1957–1992) was a Canadian artist known for her abstract paintings on wood panel.
Julia Kunin is an American sculpture and video artist. She was born in Vermont, and lives and works in Brooklyn, New York. Her work is inspired by organic forms, undersea creatures, and interior spaces, with a focus on the female body. Her work has included ceramic art with luster glazes. She graduated from Rutgers University (M.F.A.) in 1993 and Wellesley College (B.A.) in 1984, and attended the Skowhegan School of Painting and Sculpture. Her work has been featured in ARTnews, House and Garden, The Brooklyn Rail, and in Harmony Hammond's book Lesbian Art in America.
Sandra Eileen Gering is an American gallerist, curator, and art dealer specializing in modern and contemporary art. She owned and operated commercial galleries in New York City. She is a proponent of conceptual art and interdisciplinary practices.
Enid Bell Palanchian, known professionally as Enid Bell in her early career and later on as Enid Bell Palanchian, was an American sculptor, illustrator and teacher born in London, England.