448
448
Joe Bradley
NIGHTMEN
Estimate
700,0001,000,000
JUMP TO LOT
448
Joe Bradley
NIGHTMEN
Estimate
700,0001,000,000
JUMP TO LOT

Details & Cataloguing

Contemporary Art Day Auction

|
New York

Joe Bradley
B. 1975
NIGHTMEN
signed four times and dated 2007 three times on the stretcher of each figure
acrylic on canvas, in 8 parts
each: 108 by 38 in. 274.3 by 96.5 cm.
overall: 108 by 83 in. 274.3 by 210.8 cm.
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Provenance

Peres Projects, Los Angeles
Private Collection, Los Angeles
Private Collection, New York

Exhibited

Los Angeles, Peres Projects, Joe Bradley, March 2007
New York, Vito Schnabel, First Show / Last Show, May 2015

Catalogue Note

"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

As Joe Bradley’s style has oscillated between monochromes, large abstracts, and minimalist modular compositions such as the present work, perhaps the only constant has been an emphasis on process. Bradley’s praxis is loaded with art-historical reference. In his words: “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 conversation with Laura Hoptman, Interview Magazine, 16 May 2013, n.p.). This is certainly true of Nightmen: the assemblage of geometric canvases is redolent of Ellsworth Kelly and Frank Stella. Similar to these luminaries of the 20th century, Bradley's oeuvre occupies the intriguing space between painting and sculpture. In his assemblage of modular canvases, Nightmen alludes to both Modernist geometric constructions and the abstracted human form, a sculptural concept that is further reconciled on a painterly level. Radiating serious complexity and conceptual rigor while simultaneously underlined by humor, Nightmen stands at the very heart of Bradley’s artistic practice, which is as much informed by the art historical debate between form and content as it is by quotidian experience. While the careful choreography of assemblage positions the present work aesthetically within an almost Minimalist field, its complex and variegated conceptual invocations are a testament to Bradley’s long-standing investment in the history of painting, looking to the past to create something distinctly his own.

Contemporary Art Day Auction

|
New York