Beschreibung:

3 Joe Bradley Standing Nude 2007 vinyl on canvas, in 4 parts 96 7/8 x 30 1/8 in. (246 x 76.5 cm.) Signed, titled and dated twice "STANDING NUDE Joe Bradley 07" on the reverse.
Provenance Peres Projects, Los Angeles Catalogue Essay “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 2013 Since the swarm of critical attention at the 2008 Whitney Biennial, Joe Bradley has created a body of work that has proved impossible to categorize. Bradley has created a wildly dynamic and perpetually evolving series of works from decidedly primitive large-scale abstract paintings spattered with oilstick to black-and-white silkscreens of gestural human silhouettes. The present lot, Standing Nude, belongs to a group of immense modular structures that the artist initially explored in 2006. Though most provocative of a human form, flush with a peachy pink monochromatic palate, Standing Nude notably also elicits an architectural response due to its crisp structural scheme and its adjacency with the ground. The present lot appears locked in an art historical discourse that anthropomorphizes the work to confront explanations of abstract painting as self-referential and unyielding. Although seemingly taking its cues from Minimalism as well as 8-bit computer graphics, Standing Nude takes a swing at the sometimes pompous history of twentieth-century painting. The hard-edged rectangles when arranged on the wall convey an invigorating theatricality and movement mitigated by a primitive sense of ancient totemic sculptures. Through the grouping of the individual canvases as installations, Bradley imbues added personality into each individual component, thereby enabling the works to interact as communities of animated beings, a guffawing echo of the radical gestures of Blinky Palermo Standing Nude borrows much from the awareness of Pop in a droll anecdote generated by the placement of the rectangles to form an 8-foot person bearing down upon its audience. The work teases the literal interpretation of painting, but remains true to its painterly commitment through the encompassing monochromatic shade of pink. Bradley endeavors to provide his viewers with a psychological challenge that is as disquieting as it is formally constructed. The artist has elaborated, “When there's a painting in the room, my eye goes right to it. It's like if you go into a bar and there's a television on, you can't take your eyes off the television. Paintings have that effect on me. It's where my eye settles. So I guess having anything on the wall can kind of kick off that habit.” (L. Hoptman, “Joe Bradley”, Interview Magazine) Read More