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JOE BRADLEY (NÉ EN 1975)
ƒ: In addition to the regular Buyer’s premium, a c… Read more CONSORTIUM: 40 ANS
CONSORTIUM: 40 YEARS JOE BRADLEY (NÉ EN 1975)

Can

Details
CONSORTIUM: 40 YEARS

JOE BRADLEY (NÉ EN 1975)
Can
signé, titré et daté ‘Joe Bradley 18 CAN’ (sur le revers)
huile sur toile
148.6 x 116.8 cm. (58 ½ x 46 in.)
Réalisé en 2018.
Provenance
Don de l'artiste et de la galerie Almine Rech, Paris
Special Notice

ƒ: In addition to the regular Buyer’s premium, a commission of 5.5% inclusive of VAT of the hammer price will be charged to the buyer. It will be refunded to the Buyer upon proof of export of the lot outside the European Union within the legal time limit. (Please refer to section VAT refunds)
This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collection details.
Post Lot Text
'CAN'; SIGNED, TITLED AND DATED ON THE OVERLAP; OIL ON CANVAS.

Brought to you by

Valentine Legris
Valentine Legris

Lot Essay

Joe Bradley commence à peindre au début des années 2000 mais c’est sa participation à la Biennale du Whitney en 2008 qui le propulse sur le devant de la scène artistique. Son travail est résolument celui d’un peintre et s’incarne dans une diversité d’oeuvres ayant tantôt trait à l’art expressionniste abstrait, tantôt au minimalisme, comme si la cohérence stylistique importait moins que l’exigence d’envisager toutes les possibilités offertes par la peinture en tant que medium.
Pour réaliser la série dans laquelle s’inscrit Can, l’artiste utilise les deux côtés de la toile, l’huile imbibant et traversant la surface par derrière jusqu’à créer des effets de transparence sur la surface visible. Peignant volontiers directement sur le sol, Bradley laisse par ailleurs ses toiles accumuler poussières et débris de l’atelier, enrichissant ses compositions d’autant d’irrégularités qui complètent le palimpseste. Si ces œuvres se présentent de prime abord comme purement abstraites, l’artiste insiste néanmoins sur leur charge figurative, soulignée par les titres qu’il leur donne, à l’instar de Can. Jouant avec les codes et les conventions, déroutant sans cesse le spectateur, Bradley questionne in fine ce que peindre veut dire au XXIe siècle.

Joe Bradley started painting in the 2000s, but it was his participation in the Whitney Biennale in 2008 that catapulted him to the front of the artistic stage. His work is decidedly that of a painter; it is at times in line with abstract expressionism and at others minimalistic, as if a consistent style was less important than imagining all the possibilities offered by the medium of paint.
To create the series that includes Can, the artist uses both sides of the canvas. The oils saturate and soak through the material, creating translucent effects on the visible surface. Bradley deliberately paints on the ground, allowing his canvases to pick up dust and debris from his studio that enrich his compositions with irregularities and add the finishing touch to the palimpsest. Though his work appears to be purely abstract at first glance, the artist nevertheless insists on their figurative nature, which is underlined by the titles he chooses for them, such as Can. By playing with rules and conventions and constantly catching the viewer off balance, Bradley endlessly questions what painting means in the 21st century.

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