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CURRICULUM VITAE
     
     
     
     
     
     
     
 
Born and lives in New York City since 1949

 

 

 

 

 

 

 

SOLO EXHIBITIONS
2016 Dove Bradshaw: SPENT, Zone2Source, Amstel Park, Amsterdam, press release, checklist, works, review
  Dove Bradshaw: Unintended Consequences, press release, checklist, Thomas Rehbein Gallery, Brussels review French & review English
  Dove Bradshaw: Unintended Consequences, press release, checklist, Danese Corey Gallery, New York review
  Dove Bradshaw: Angles, press release, checklist, Sandra Gering Inc., New York review
  Bradshaw: Contingency On Wall, curator: Vesela Sretenovic, Permanent Collection, The Phillips Collection, Washington, DC
2014 Dove Bradshaw: Time, Thomas Rehbein Gallery, Cologne, checklist
  Dove Bradshaw, Timepiece, Danese/Corey Gallery, New York, catalogue, checklist
2013 Negative Ions II and Pocket Drawings, double solo with William Anastasi, Rio De Janeiro Art Fair, represented by Thomas Brambilla Gallery, Bergamo, Italy
2012 COPPER SILVER FOOL'S GOLD, Larry Becker Contemporary Art, Philadelphia, PA, catalogue, checklist
2011 Dove Bradshaw, Thomas Rehbein Gallery, Cologne, catalogue, checklist
2010 Angles & Quick Constructions, Habitat Showroom, New York  checklist
2008 Radio Rocks, Limited Edition Portfolio; Larry Becker Contemporary Art, Philadelphia, PA (première of installation of radios with hematite, galena, and pyrite crystal mixers bring in weather stations, local and short waves and micro wave receivers intercepting outer spaces signals as well as echoes of the Big Ban, Radio Rock drawings and plans, Radio Contingency Jets and Quick Constructions), checklist, Radio Rocks Box Book
  Time Matters, catalogue; Pierre Menard Gallery, Cambridge, MA (mid-career exhibition: 40 works over 39 years, première Quick Constructions ) catalogue, checklist     
2007 Time & Material, catalogue, Senzatitolo Associazione Culturale, Rome (Waterstone, Ground, Negative Ions I, Crack In The Air, 2v0, 2v0 Daguerrotype scan, Contingency Pour, Material/Immaterial) catalogue, checklist
  Contingency, Björn Ressle Gallery, New York (new Contingency Paintings, Contingency [Book], Waterstone, new Crack In The Air, II series, Nothing, 2, Full, Quick Construction) checklist
  Constructions, Zero Space, Zero Time, Infinite Heat, catalogue, The Spirit of Discovery 2, under the auspices of the SPIRIT OF DISCOVERY, Facto Foundation For The Arts, Sciences and Technology - Observatory,Trancoso, Portugal, exhibition at Ingreja do Convento de Santo AntÓnio (Zero Space, Zero Time, Infinite Heat and première Oracle permanent works in Ingreja do Convento de Santo António, Trancoso, Portugal) http://www.asa-art.com/ed/1.html and http://www.asa-art.com/facto/ed2007/1.html checklist
2006 Six Continents, "Trace of Mind," catalogue; 6th Gwangju Biennale, Gwangju, South Korea (Six Continents) checklist  Six Continents Box Book
  The Way, Gallery 360°, Tokyo (Full, Ground, Angles IV, Series 2, Nothing II, Carbon Removals, 2v0, Limited Editon Box) catalogue, checklist
  Radio Rocks, permanent installation commissioned by the Baronessa Lucrezia Durini for the town of Bolognano, Italy checklist,  Radio Rocks Box Book
  Time & Material, catalogue; Ingreja do Convento de Santo António, Trancoso, Portugal under the auspices of the SPIRIT OF DISCOVERY, Facto Foundation For The Arts, Sciences and Technology - Observatory, Trancoso, Portugal,http://www.asa-art.com/ed/1.html and http://www.asa-art.com/facto/ed2007/1.html, artists: Maria Bonomi, Dove Bradshaw, Akio Hizume, Japan; performances: Monica Weiss, Francesco Mariotti; Conference: hosted by René Berger, President of the World Association of Art Critics, Lausanne., Conference: May 18-20; Exhibitions: May 18- July 20, 2006 (première suite of unfixed cyanotypes of images representing time, Negative Ions II, Crack In The Air, They Were and Went, Double Negative, Plain Air)
2005

Six Continents, Contingengy and Body Works, SolwayJones Gallery, Los Angeles (Six Continents - salt from Africa, Antarctica, Australia, Eurasia, North and South America, separatory funnels, water, new Contingency Paintings and Works on paper, new Crack In The Air [thorn], photographs) checklist

  Six Continents & Angles 12 Rotations, Larry Becker Contemporary Art, Philadelphia, PA (première Six Continents and Angles 12 Rotations [paintings set in the 12 possible positions in which one side of the inner or outer triangle is level with the horizon]) checklist
2004 Dove Bradshaw, Nature, Change and Indeterminacy, Volume Gallery, New York (Limited Edition Book, Editions and sculptures, première stamps, Daguerreotypes, inkjet photographs) checklist
2003

Dove Bradshaw: Formformlessness, 1969-2003, with book and Limited Box Edition; curator: Sandra Kraskin, The Sidney Mishkin Gallery, Baruch College, City University of New York, New York (Mid-career Exhibition, première Breath video, American version of Self Interest) checklist

  Angles, Diferenca Gallery, Lisbon (Angle paintings, Negative Ions II, Ground, Passion, 2v0, Notation V ) checklist
2001 Waterstones, Stark Gallery, New York (Waterstones - limestone blocks, separatory funnels, water, première Ikkyu [brass scroll] and Notation works [brass sheets]) checklist
  Elements, Stalke Gallery, Copenhagen (première Self Interest, Material/Immaterial, Angle paintings, Notation I, Insertion, Negative Ions II, Series, Nothing II, and re-exhibition Passion) checklist
2000 Waterstones, curators: Heidi and Larry Becker, Larry Becker Contemporary Art, Philadelphia (première Waterstones, 1996, re-exhibition of Contingency Paintings and Book, S painting, Ag/K2SX + K2S203) checklist
1999 Negative Ions, Indeterminacy [film], and 2v0, curator: Michael Olijnyk, Mattress Factory Museum, Pittsburgh (Negative Ions I, Indeterminacy Film, premiere: 2/0 Edition) checklist
  Guilty Marks, Stalke Gallery, Copenhagen (première Guilty Marks paintings) checklist
1998 Dove Bradshaw, catalogue, curator: Julie Lazar, The Museum of Contemporary Art, Los Angeles (Indeterminacy stones, Contingency Paintings, Book II and Works on paper, Passion, Ground) checklist
  Irrational Numbers, Sandra Gering, New York (première Negative Ions I - salt boulders, separatory funnels, water, Contingency [Book II] and Equivalents), [concurrent with Linda Kirkland] checklist
  Irrational Numbers, Linda Kirkland Gallery, New York (2/0, première Indeterminacy stones - limestone blocks, pyrite, première Contingency Pour I-IV [silver sheets]) checklist
1997 ‘S’ Paintings and Indeterminacy, Barbara Krakow Gallery, Boston (Indeterminacy stones and Indeterminacy [film], première ‘S’ Paintings) checklist
1996 Indeterminacy, catalogue, Stalke Gallery, Copenhagen (Contingency paintings, Indeterminacy stones, Ground, 2/0, première Without Title (cement paintings) checklist
1995 Indeterminacy, catalogue, Sandra Gering Gallery, New York (première Indeterminacy- marble and pyrite, Indeterminacy [film], pyrite, Without Title [Carbon Removals]) checklist
  Indeterminacy & Contingency, curator: Neil Firth, Pier Center, Orkney, Scotland (première Indeterminacy stone (sandstone, pyrite), première Passion (outdoors), Contingency on wood panels and book, Full, Ground, Ag/K2SX + K2S203) checklist
1993

Contingency, book; Sandra Gering Gallery, New York (première Contingency Paintings and Works on paper, 2/0, arrhe) checklist

1991 Full, Sandra Gering Gallery, New York (première pigment paintings) checklist
  Plain Air, curators: Ryzsard Wasco and Zdenka Gabalova, PS1 Contemporary Art Center, LIC, New York (installation with live birds recreation from 1969)             Plain Air Box Book
1990 Plain Air, curator: Michael Olijnyk, Mattress Factory Museum, Pittsburgh (installation with birds) checklist,   Plain Air Box Book
1989 Plain Air, Sandra Gering Gallery, New York (first recreation from 1969 installation with birds) checklistPlain Air Box Book
  Paintings on Vellum, Stalke Gallery, Copenhagen (première abstract paintings on vellum)
1988 Heads, Inaugural exhibition Sandra Gering Gallery, New York (première figure paintings on vellum) checklist
  Dove Bradshaw, curator: Joan Blanchfield, Edith Barrett Art Gallery, Utica College, Syracuse University, Utica, New York (figurative and abstract paintings on vellum)
  American Academy of Arts Invitational: Carbon Removals, judged by Jasper Johns, American Academy of Arts and Letters, New York
1986 Dove Bradshaw: Collages on Wood, curators: Susan Lorence and Bob Monk, Lorence Monk Gallery, New York (première)
1984 Dove Bradshaw: Works 1969-1984, curator: Joan Blanchfield, Utica College, Syracuse University, Utica, New York (first Mid-Career Exhibition) checklist
1983 Last Year's Leaves, curator: Linda Macklowe, Wave Hill, Bronx, New York (première drawings) checklist, press release
1982 Dove Bradshaw: Works On Paper, Ericson Gallery, New York (première caran d'ache, graphite on paper) checklist
1981 Removals, Ericson Gallery, New York (première Carbon Removals) checklist
1980 Butterflies, curator: Gene Moore, Tiffany Windows
1979
Mirror Drawings, curator: Terry Davis, Graham Modern, New York (première) checklist
1977 Slippers and Chairs, curator: Terry Davis, Graham Modern, New York (premiere) checklist
 
Chairs, curator: Bill Hart, Razor Gallery, New York (première porcelain sculptures) checklist
1975
Reliquaries, curator: Bill Hart, Razor Gallery, New York (première porcelain sculptures) checklist
SELECTED GROUP EXHIBITIONS
2017 Nexus, curator: Ann Jon; artists: Peter Barrett, Dov e Bradshaw, William Brayton, James Burnes, William Carlson, Joseph Carpineto, Matt Crane, Christopher Curtis, Murray Eewart, Stuart Farmery, Harold Grinspoon, Lucy Hodgson, Ann Jon, James Kitchen, Carol Lampert, Madeleine Lord, Philip Marshall, Jacque Metheny, Nancy Milliken, Martina Muller, Lydia Musco, Colleen O'Donnell, Gary Orlinsky, Roe Osborn, Chris Plaisted, Eric Stein, David Teeple, Michael Thomas, Robin Tost, Setsuko Winchester, Sulpturea Now, Becket, New York
2016

Silver Linings, curator: Fran Kaufmam; artists: Dove Bradshaw, Robert Indiana, William John Kenned, Nancy Lorenz, Gino Miles, Cordy Ryman, Thalen & Thalen, Long Sharp Gallery, New York (Contingency [Thorns IV], 2013)

  25th Annual African Artist's Benefit, African Rainforest Conservancy, artists: Alex Beard, Alison Jones, Beezy Bailey and Dave Matthews, Beth O'Donnell, Billy Ruiz, Carlo Mari, Carol Beckwith and Angela Fisher, Chris Dei, Chris Jordan, Chuck Close, Dalton Portella, Eliza Milliken, Gerald Forster, Huger Foote, Janet Heaton, Jonnie Miles, Mirella Ricciardi, Nick Brandt, Paige Deponte, Ricky Lee Gordon, Spencer Tunick, Susanna Noel Jolly, Trecy Bleic, Tribecca Rooftop, New York (Double Negative, 1993)
  Nest, curator: Elizabeth Rooklidge, artists: Sharon Beals, Sanford Biggers, Dove Bradshaw, Björn Braun, John Burtle, Walton Ford, Shiela Hale, Fiona Hall, Porky Hefer, Nina Katchadourian, Louise Lawler, Judy Pfaff, James Prosek, Hunt Slonem, Kiki Smith, Andreas Sterzing, Paul Villinski, and David Wojnarowic, The Katonah Museum of Art, Katonah, New York (Home, 2008/16, 2 Nothing Series II, 2004)
  Flashback and Guests, 15th Anniversary of Stalke Gallery Kirke-Sonnerup, Denmark, curator: Sam Jedig, artists: Michael Coughlan, Thorbjørn Bechmann, Hartmut Stockter, William Anthony, Torben Ebbesen, Margrete Sørensen, Snorri Asmundsson, Lone Skov Madsen, Kaj Nyborg, Morten Tillitz, Steinunn Helga Sigurdardóttir, Hulda Vilhjamsdóttir, Ditte Bolt, Christoph Draeger, Helgi Fridjónsson, Markus Vater, Jeffrey Hargrave, Tony Garifalakis, Søren Dahlgaard, Cordy Ryman, Jenny Watson, Julia Oschartz, Bella Angora, Gunnar Örn, William Anastasi, Vu Thi Trang, Dove Bradshaw, Tiina Elina Nurminen, Nikolaj Recke, Anne Bennike, Jeannette Ehlers, Sigurgeir Sigurjónsson, Susanne Eybl, Berit Heggenhougen-Jensen, Thorbjørn Lausten, Albert Mertz, Janet Passehl, Lone Mertz, Henrik Prydsbeck, Tyler Vlahovic, Jamie Isenstein, Monique van Genderen, Thomas Bang, Jes Brinch, Gudmundur Ingolfsson
2015 Museum of Stones, curator: Dakin Hart, artists: Janine Antoni, Wallace Berman, Mel Bochner, Dove Bradshaw, Donald Burgy, Scott Burton, Vija Celmins, Mariana Cook, Wim Delvoye, Jimmie Durham, Mitch Epstein, Jochen Gerz, Richard Long, Stephen Lichty, Isamu Noguchi, Rupert Norfolk, Yoko Ono, Gabriel Orozco, John Perreault, Howard Rosenthal, Toshiko Takaezu, Tom Sachs, Bosco Sodi, Stephanie Syjuco, Lawrence Weiner, Tarek Zaki along with Qing Dynasty works, 16th Century unidentified artist, Ni Yuanlu (Chinese, 1593–1644), Lan Ying (Chinese, 1585–1664), Ruan Yuan (Chinese, 1764–1849), 1840–1896), Pu Ru (Chinese, 1896–1963), Ren Yi /Ren Bonian (Chinese, Xie Zhiliu (Chinese, 1910–1997), Noguchi Museum, New York (Material/Immaterial, 2015, Notation VIII, 2004, Waterstone, 1996, Indeterminacy V, 1995, Indeterminacy XI, 1996)
  Highlights: Gallery Artists: Anastasi, Bradshaw, Chin, Gefeller, Hendricks, Hemsworth, Houlihan, July 10-August 29, Thomas Rehbein Gallery, Cologne (Contingency [Driftwood and Pinecones], 2014; Contingency [Stirpes], 2013, Notation VII, 2000/2015) 
  By The River, curator: Michael Solway, Dove Bradshaw, Jim Cambell, Jacci Den Hartog, Ben Patterson, Steve Roden, Gregory Thorp, Weston Art Center, Cincinnati, OH (Contingency [Riverroots], 2013, Contingency [ L], 2005, two Contingency works on paper shown at Cage's 1991 Carnegie International and two Contingency Jets, 2007)

Fifth Free International Forum, in Memory of Particia Zari and Massimo Riposati, Creative Life, curator: Lucrezia Durini, president: Arturo Schwarz, director: Emanuel Pimenta, Paradise Plantation, THE PLACE OF NATURE, Bolognano, Italy (SPACETIME [Film], 2011) 

Grey Is The Color, If I Had A Heart, curator: Tim Hawkinson, artists: William Anastasi (US), Robert Barry (US), Thomas Bangsted (Denmark), Marc Bijl (Netherlands), Daniel Boyd (Australia), Dove Bradshaw (US), Grayson Cox (US), Jessica Dickinson (US), Matt Ducklo (US), Tim Eitel (Germany), VALIE EXPORT(Austria), Eric Freeman (US) Jeffrey Gibson (US), Kristján Gudmundsson (Iceland), Geoff Hippenstiel (US), Ridley Howard (US), Jasper Johns (US), Jim Lee (US), Sol LeWitt (US), Ralph Eugene Meatyard (US), Jong Oh (Korea), Paul P. (Canada), Joyce Pensato (US), Rona Pondick (US), Andrew Sendor (US), Diana Shpungin (Latvia/US), Sam Trioli (US), Zlatan Vehabovi (Croatia), Marc Straus Gallery, New York (Contingency [Snow Tracks], 2013)
  Evans Editions, curator: Sue-Ann Evans; artists: William Anastasi, Dove Bradshaw ,Richard Prince, Nicola Tyson, and others, 315 Gallery, New York (Double Negative, 1993)

Paper and Performance: The Bent Page, curator: Katie Anania, artists: William Anastas, Dove Bradshaw, Johanna Calle, Leah DeVun, Katharina Hinsberg, Channa Horwitz, Robert Rauschenberg, Dorothea Rockburne, Edgardo Antonio Vigo Constantina Zavitsanos, Blanton Museum of Art, April 25 - August 9, 2015, Austin, Texas (Performance Burned [original postcard], 2004)

2014
Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, 1990/2014, Strategies of Non-Intention, John Cage and Artists He Collected, curator: Dove Bradshaw, Sandra Gering Gallery Inc., New York (Passion, 1994-copper bar, Notation VI, 2004)
  Reunion, World Chess Hall of Fame, St Louis, William Anastasi and Dove Bradshaw play chess reminiscent of the 1968 Reunion: Marcel Duchamp and John Cage Chess Match with musical accompaniament ; musicians: Nathan Cook, Greg Faroughk, Adaron “Pops” Jackson, toured with the Temptations, Mark Sarich, composer influenced by Morton Feldman; The content and length of the performance is determined by the pace and moves of a chess game played on John Cage's 1968 Chessboard. Each move triggers the internal circuitry to play a randomly selected segment of music being continuously sent to the board by one of four composers and then routed to any one of the eight speakers until the next piece is moved. The performance is concluded with checkmate. The performance took place mid-point between the United States Chess championship of that year with Grand Masters: Maurice Ashley, Ben Finegold, Yasser Seirawan, Jennifer Shahade
Transmission/Frequency: Tesla and His Legacy, curator: Jessica Hunter Larsen, artists: Dmitry Gelfand and Evelina Domnitch, Dove Bradshaw, Colorado College, Colorado Springs (Tesla Radio Rock, 1998/2014, Radio Rocks LTD Box and PDF on Ipod, 2008)
Summer, Dove Bradshaw, Deborah Butterfield, Nicole Phungrasamee Fein, Connie Fox, April Gornik, Craig Kauffman, Susie MacMurray, Matthias Meyer, Larry Poons, Cheryl Ann Thomas, Lynne Woods Turner, Danese Corey Gallery, New York (Contingency [Poplar], 2011)
Art=Text=Art: Works by Contemporary Artists, Works from the Sally and Wynn Kramarsky Collection, UB Anderson Gallery at the University at Buffalo, New York www.artequalstext.com (BRADSHAW Ltd Box, 2003)
Devil's Heaven, The Watermill Center Summer Benefit 2014, Robert Wilson, Watermill, Long Island, New York (Song of Which [Evelina Crouched], 2004)
  Thomas Brambilla Gallery, Independent Art Fair, Brussels
On View V, artists: Anastasi, Anthony, Brinch, Bang, Bradshaw, Bennike, Dahlgaard, Ebersson, Ehlers, Fridjohnsson, Gjerdivek, Hendricks, Ingolfsson, Lausten, Madson, Albert Mertz, Lone Mertz, Nurminen, Nybord, Orne, Pester, Tillitz, Recke, Sorensen, Stalke Galleri, Kirke-Sonnerup, Denmark (Guilty Marks, 1993)
2013
In Daylight, artists: Eve Aschheim, Karen Baumeister, Anna Bogatin, Dove Bradshaw, Brusgaard, Max Cole, Ruth Ann Fredenthal, Martha Groome, Kazimira Rachfal, Merrill Wagner, Larry Becker Contemporary Art, Philadelphia, PA (Contingency [Scarf, 2010, Contingency, 2012)
  Too Big and Not too Big, Thomas Brambilla Gallery, Bergamo, Italy (Contingency on Paper, 2013)
(Un)Seen, curator: Elyse Goldberg; artists: Berenice Abbot, Davida Adadjouma, Dove Bradshaw, Maya Deren, Simon Evans, Nelson Fernando Figallo, Ann Fischman, Leo Fitzpatrick, John Hadly, Mathew Higgs, Iaeden Hovorka, Bruno Jacob, Greg Johnson, Ed Loftus, Kristin Oppenheim, Pedro Pasocinho, Katie Paterson, Joseph Russo, Deborah Standard, Robin Taylor, Francesca Woodman, Fountain Gallery, New York (Crack In The Air, 1991)

ART=Text=ART, artists: William Anastasi, Frank Badur,| Jill Baroff, Robert Barry, Kry Bastian, Suzanne Bocanegra, Mel Bochner, Dove Bradshaw, Stephanie Brody-Lederman, Trisha Brown,| Buster Cleveland,| Russell Crotty, Annabel Daou, Stephen Dean, Elena del Rivero, Donald Evans, Dan Flavin, John Fraser, Jane Hammond, Nancy Haynes, Christine Hiebert, Jasper Johns, Ray Johnson, Bronlyn Jones, Jon Laxdal, Ann Ledy, Sol LeWitt, Mark Lombardi, Stefana McClure, Mary McDonnell, Deborah Gottheil Nehmad, Jill O'Bryan, Gloria Ortiz-Hernández, Susanna Harwood Rubin, Raphael Rubinstein, Ed Ruscha, Karen Schiff, Joel Shapiro, Sara Sosnowy, Molly Springfield, Allyson Strafella, Lenore Tawney, Cy Twombly, John Waters, Lawrence Weiner, Hafnarborg, The Hafnarfjör∂ur Centre of Culture and Fine Art, Hafnarfjör∂ur, Iceland originated by the University of Richmond, Virginia (BRADSHAW Ltd Box, 2003)

New York Armory, Represented by Danese Gallery, New York (Herself In The Element, 2004)

Devil's Heaven, The Watermill Center Summer Benefit 2013, Robert Wilson, Watermill, Long Island, New York (I Am Myself Heaven & Hell, 2008)
Arts Crush 2013, Aspen Art Museum, Aspen, Colorado (Song of Which, 2004)
ArtSpace64: Natural Elements, work loaned from the Werner H. Kramarsky Collection, Memorial Sloan-Kettering Cancer Center, New York (Contingency Jet, 2003)
ONE OF A KIND: an exhibition of unique artist's books, curator: Heide Hatry, Owens Art Gallery in Sackville, Canada and travel to: AC Institute, New York  (Equivalents, 1991)
2012
Cool, Calm, Colleced, artists: Anne Appleby, Larry Bell, Astrid Bowlby, Dove Bradshaw, Theresa Chong, Nicole Phungrasamee Fein, Sabine Friesicke, Nancy Haynes, Jene Highstein, Zebedee Jones, Craig Kauffman, Ruth Pastine, Karen Schiff, Julian Stanczak, George Stol, Hadi Tabatabai, Nick Terry, Anne Truitt, Lynne Woods Turner, Danese Gallery, New York (Silence Speaks, 2013)
To Be Looked At ... Summer Love, artists: Anna Bogatin, Dove Bradshaw, Marcia Hafif, Kocot and Hatton, Joseph  Mariani, Jon Pobldor,  Steve Riedell, Lars Strandh, Merrill Wagner, Mark Williams, John Zinsser, Larry Becker Contemporary Art, Philadelphia (Full, 1991)
John Cage Centennial Performance, William Anastasi, Dove Bradshaw, Emanuel Pimenta, Christian Wolff, Alain Kirili and Ariane Lopez-Huii Concert Series, New York (performed on the original Radio Rock with an added theremin)
SPACETIME, film scored to John Cage's Ryoanji, 1983-5, screened accompanying a live performance of Ryoanji at an evening of Cage music at the Conservatoire à Rayonnement, Madrid Street, Paris, June 22
ART=Text=ART, Rutgers University, New Jersey (BRADSHAW Ltd Box, 2003)
Humor, seriously, curator: Birgitte Orom, artists: Marcos Chaves (BR), Nezaket Ekici (TR), Erwin Wurm (AUT), Nancy Fouts (GB), Dan Perjovschi (RO), Nina Saunders (GB), Dove Bradshaw (USA), William Anastasi (USA), John Baldessari, (USA), Eric Andersen, Peter Callesen, Søren Dahlgaard, Birgit Johnsen & Hanne Nielsen, Peter Nansen Scherfig, Peter Land, Peter Carlsen, Hartmut Stockter, Søren Bechnke, Andreas Schulenburg, Birgit Dam, Morten Steen Hebsgaard og Lykke Andersen. The Museum of Modern Art, Esbjerg, Denmark ('Claimed' firehose, Performance, 1976/2012)

John Cage, A Centennial Celebration (with Friends), an exhibition of works by John Cage including prints,drawings, multiples, and scores. With Friends includes works by Merce Cunningham, Robert Rauschenberg, Buckminster Fuller, Morris Graves, Marcel Duchamp, Tom Marioni, Jasper Johns, Allen Ginsberg, Nam June Paik, William Anastasi, Allan Kaprow, Richard Hamilton,Mark Tobey, Dove Bradshaw, Ben Patterson, Emmett Williams, Robert Watts and more; Carl Solway Gallery, Cincinnati (Radio Rock I, 1998)

2011
Wireless, curator: Elizabeth Lovero; artists: Francis Baudevin, Dove Bradshaw, Nathan Carter, Tyler Coburn, Aaron S. Davidson and Melissa Dubbin, Ellie Ga, Nicolas Lobo, Neighborhood Public Radio, Matthew Biederman and Marko Pelijhan, Daniel Perlin, Roman Signer, and Jim Toth, Santa Barbara Arts Forum, CA (Radio Rock I, 1998)
2011 THE INTERNATIONAL YEAR OF CHEMISTRY, ELEMENTAL MATTERS: Artists Imagine Chemistry, curator: Marge Gapp; artists: Susan Alexjander, Dove Bradshaw, David Clark, Birgitte Hitschler, Kevin H. Jones, Rebecca Kamen, Jennifer Schmitt; The Chemical Heritage Foundation, Philadelphia, PA; http://www.chemheritage. org/visit/museum/exhibits/elemental-matters/index.aspx  (Waterstone, 1996, Self Interest, 1998, Herself In The Element, 2004, Dmitry with Body Elements, 2004)
 
John Cage Merce Cunningham Collection, by Stephen, Jones, works auctioned for the benefit of the Merce Cunningham Trust, artists: Annie Albers, William Anastasi, Dove Bradshaw, Merce Cunningham, Morris Graves, Philip Guston, Jasper Johns, Lois Long, Tom Marioni, Louise Nevelson, Robert Rauschenberg, Sonya Sekula, Dorothea Tanning; Christies Auction House, New York (two Carbon Removals, 1990s, Full, 1991, Riverstones, 1989)

WHAT IS CONTEMPORARY ART?, curator: Director Sanne Kofoed; The Museum of Contemporary Art, Roskilde, Denmark (Carbon Removals, 1990s)

Art=Text=Art: Works by Contemporary Artists, An exhibition of Selections from the Sally & Wynn Kramarsky Collection, University of Richmond Museums in Richmond, Virginia travels to: Zimmerli Art Museum at Rutgers University in New Brunswick, New Jersey (BRADSHAW Ltd Box, 2003)
ONE OF A KIND: An exhibition of unique artist's books, curator: Heide Hatry, Pierre Menard Gallery, Cambridge, Massachusettes; traveling Halifax  (Equivalents, 1991)
Drawn / Taped / Burned: Abstraction on Paper: From the Werner H. Kramarsky Collection, The Katonah Museum of Art, Katonah New York, www.aboutdrawing.org/drawntapedburned (Carbon Removal, 1991)
The Convent, curator: Serra Sabuncuolu, Brooklyn, New York (Negative Ions II, 1996)
Missing Piece: Artists and the Dalai Lama, curator: Randy Rosenberg; Nobel Museum, Stockholm, Sweden (salt half heard, 1996/2011)
2010
Group Exhibition, Gallery Poulsen, Copenhagen
Intolerance, curators: Christopher Whittey and Gerald Ross; artists: William Anastasi, Dove Bradshaw, Sam Durant, Francisco de Goya, Philip Guston, Stephen Marc, Rigo 23,  Roee Rosen, Karina Skvirsky, Jaune Quick-To-See Smith; Decker and Meyerhoff galleries, Maryland Institute College of Art, Baltimore (Double Negative, 1993)
Biennial Winter Salon, curator: Björn Ressle; associate curator: Jee Yuen Chen; Elga Wimmer Gallery, New York (Contingency Jets, 2011)
Reunion 2010: The Night of Future Past: William Anastasi & Dove Bradshaw play chess reminiscent of the 1968 Reunion: Marcel Duchamp and John Cage Chess Match with the musical composition performed by David Behrman, Gordon Mumma, Malcolm Goldstein; Kombucha & Raw Canapé Chess, eating and drinking captured pieces, designed by Fluxus artist Takako Saito, Ryerson Theater, Toronto as part of Nuit Blanche/All Night Contemporary Art Festival Reunion catalogue
Love in Vein: Editions Fawbush Projects and Artists 2005-2010, curators: Russell Calabrese and Thomas Jones, Gering Lopez Gallery, New York (Without Title [Indeterminacy broken stone], 1990/2010)
Connexions, curator: Inge Merete, artists: William Anastasi (USA), Eric Andersen, Dove Bradshaw (USA), Rui Charles (P), Claus Carstensen (P), Olaffur Eliasson (DK/IS), Erik A. Frandsen, Claus H. Jensen, Per Bak Jensen, Anita Jorgensen, Michael Kvium, thorbjorn Lausten, Christian Lemmertz, Ann Lislegaard, Kristine Roepstorff, Tomas Sareceno (AG/D), Nina Saunders (GB), Peter Nansen Scherfig, Skeel & Skriver, The Esbjerg Museum of Modern Art, Esbjerg, Denmark (2/0, photogravure, 2008)
The 21st Century Woman, Margaret Fuller and the Sacred Marriage, curator: Lisa Paul Streitfeld, Pierre Menard Gallery, Cambridge, Massachusetts (I Am Myself Heaven & Hell [silver over copper printing plate], 2008)
At 21: Gifts and Promised Gifts in Honor of The Contemporary Museum’s 20th Anniversary, The Contemporary Museum of Honolulu, Hawaii (Carbon Removal [Dust], 1992)
2009
The Third Mind: American Artists Contemplate Asia, 1860-1989, curator: Alexandra Munroe,75 artists, The Solomon R. Guggenheim Museum, New York (2/0, 1971)
EAST WEST: Anastasi, Bradshaw, Flavin, Kuwayama, curator: Björn Ressle; Björn Ressle Gallery, New York in conjunction with The Third Mind at the Solomon R. Guggenheim Museum, New York (Notation I, 2009, Zero Space, Zero Time, Infinite Heat, 1988)  EAST WESTon-line catalogue
ONE Copenhagen, Six Americans / Six Danes, curator: Dove Bradshaw; artists: Anastasi, Andre, Barry, Bradshaw, Kretschmer, Passehl, Dahlgaard, Ebbesen, Hornsleth, Jedig, Mertz, Recke; Stalke Up North, Copenhagen, ONE Copenhagen  on-line catalogue (Zero Space, Zero Time, Infinite Heat, 1988)
New York New Drawings 1946-2007, Selections from the Werner H. Kramarsky Collection, curators: Ana Martinez de Aquilar, Director, José Maria Pareno Velasco, Deputy Director, Museo de Art Contemporaneo Esteban Vicente, Segovia, Spnai, Museo de Art Contemporaneo Esteban Vicente, Segovia, Spain (Carbon Removal, 1991)
Noumenon: An Exploration of Contemporary Abstract Art in the Beyondness of Things, curator: Megakles Rogakos, The American College of Greece Art Gallery, Agia Paraskevi, Greece (Contingency Jet, 2006)
The Missing Peace, Artists and the Dalai Lama, curator: Randy Rosenberg; Fundacion Canal, Madrid (salt half heard, 1996/2009)
ONE More, Cologne, Dedicated to Sol LeWitt, curator: Dove Bradshaw; artists: Lawrence Anastasi, William Anastasi, Carl Andre, Robert Barry, Dove Bradshaw, Marcia Hafif, Jene Highstein, Melissa Kretschmer, Sol LeWitt, Richard Nonas, Janet Passehl, Cordy Ryman, Robert Ryman, Merrill Wagner; Thomas Rehbein Gallery, Cologne George Imdahl review Kölner Stadt-Anzeiger: January 21, 2009  ONE More Cologne  on-line catalogue (Negative Ions II, 1999/2009, Contingency Jets, 2008)
 
Editions, curators: Michael Solway and Angela Jones; artists: Vito Acconci, William Anastasi, Dove Bradshaw, Joseph Beuys, John Cage, Jim Campbell, Paul Dei Marinis, Buckminster Fuller, Richard Hamilton, Jean Pierre Hebert, James Hill, Channa Horwitz, Allan Kaprow, Tim Marioni, Claes Oldenberg, Nam June Paik, Ben Patterson, Dane Picard, Alan Rath, and Steve Reich; SolwayJones Gallery, Los Angeles (Stamp Editions, 2008/9)
2008
Winter Salon-Works on Paper, Björn Ressle Gallery, New York (Stamps, 2009, Contingency Jets, 2008)
 
Choosing, curator: Robert Barry; artists: William Anastasi, Dove Bradshaw, Peter Downsbrough, Tadaaki Kuwayama, Maurizio Nannucci, Richard Nonas, Richard Williams; Andrée Sfeir-Semler Gallery, Hamburg (Zero Space, Zero Time Infinite Heat and drawing, 1988)
 
The Missing Peace, Artists and the Dalai Lama, artists: same as above; Hillside Terrace, Shibuya, Tokyo (salf half heard, 1996/2008)
 
LeWitt x 2, curator: Dean Swanson, Austin Museum of Art, Austin, Texas (Angles I, 2000, Without Title III, 1994)
 
ONE More: Dedicated to Sol LeWitt, curator: Bradshaw; artists: Lawrence Anastasi, William Anastasi, Carl Andre, Robert Barry, Dove Bradshaw, Marcia Hafif, Jene Highstein, Melissa Kretschmer, Sol LeWitt, Richard Nonas, Janet Passehl, Cordy Ryman, Robert Ryman, Merrill Wagner; Esbjerg Museum of Modern Art, Esbjerg, Denmark (Zero Space, Zero Time, Infinite Heat, 1988, Notation V, 2000)
2007
ONE: Dedicated to Sol LeWitt, curator: Bradshaw; artists: Anastasi, Andre, Barry, Bradshaw, Hafif, Highstein, Kretschmer, LeWitt, Nonas, Wagner; Björn Ressle Gallery, New York)   ONE on-line catalogue (Zero Space, Zero Time, Infinite Heat, 1988)
 
LeWitt x 2, curator: Dean Swanson, Weatherspoon Gallery, Gainsboro, North Carolina (Angles I, 2000, Without Title III, 1994)
 
LeWitt x 2, curator: Dean Swanson, curator: Dean Swanson; artists: same as above; The Miami Art Museum (Angles I, 2000, Without Title III, 1994)
 
Invention: Merce Cunningham & Collaborators, curators: Madelein Nichols, curator of the Jerome Robbins Division of the NY Public Library and David Vaughan, Cunningham Archivist, and Barbara Cohen-Stratyner, Judy R. and Alfred A. Rosenberg, Curator of Exhibitions at The New York Public Library for the Performing Arts, The New York Public Library for the Performing Arts, Lincoln Center, New York (Points In Space Poster, 1986, Trackers photograph)
 
The Missing Peace: Artists Consider the Dalai Lama, curator: Randy Rosenberg, artists: same as above; The Rubin Museum of Art, New York (salt half heard, 1996, première Himalayan crystal salt, funnel, water and Peace Flag, 2005-birds on target cut out printed on silk chiffon)   Review: Castro, Jan Garden, Sculpture Magazine, April 2008, Emory Visual Arts Gallery, Atlanta, Georgia, Loyola University Museum of Art, Chicago, Yerba Buena Center for the Arts, San Francisco (salf half heard, 1996/2007)
 
Winter Salon, Björn Ressle Fine Art, New York
2006
SALT MOUNTAIN, artists: Malin Abrahamsson, Nancy Bonior, Dove Bradshaw, Nancy Brooks, Christopher Clark, Arlene Cornell, Michael Falco, Kathy Fieramosca, Griselda Healy, Patricia Melvin, Kristi Pfister, Ann Marie McDonnell, Michael McWeeney; The Maritime Museum, Staten Island, New York (salf half heard, 1996/2006)
 
Elements, curator: Amy Lipton; artists: Dove Bradshaw, Jackie Brookner, Eve Andree Laramee, Stacy Levy; Abington Art Center, Jenkintown, Pennsylvania(Self Interest, 1998, O Dress, 2004, Herself In the Element, 2004)
 
The Missing Peace: Artists Consider the Dalai Lama, opening at the Fowler Museum of Cultural History, University of California at Los Angeles, Los Angeles(salt half heard, 2006)
 
LeWitt x 2, curator: Dean Swanson; artists: same as above; inaugurating the new building of the Madison Museum of Contemporary Art, Madison, Wisconsin (Angles I, 2000, Without Title III, 1994)
 
Group Show, Stalke Gallery, Copenhagen
2005
Anastasi Bradshaw Cage Cunningham, curators: Marianne Bech and Dove Bradshaw; The University Art Museum, The University of Virginia, Charlottesville, Virginia (25 works: paintings, sculptures, work on paper, DVDs, dance collaborations with John Cage and Merce Cunningham) checklist   Anastasi Bradshaw  Cage  Cunningham  on-line catalogue
 
Summer Group, Larry Becker Contemporary Art, Philadelphia
 
Anastasi Bradshaw Cage Cunningham, curators: Marianne Bech and Dove Bradshaw; The University Art Gallery, The University of California at San Diego (25 works) checklistAnastasi Bradshaw  Cage  Cunningham  on-line catalogue
 
Edge Level Ground, curator: Stephanie Hering; artists: William Anastasi, Dove Bradshaw, Ulrigh Erben, Jack Sal, Christian Sery, Stephanie Hering Gallery, Berlin (Indeterminacy [DO NOT TOUCH], 1993, 2 Nothing Series II, 2004, 2/0, 1989 edition)
2004
Summer Group Exhibition, Larry Becker Contemporary Art, Philadelphia, PA (Angle Painting, 2004)
 
Abracadaver, The 2004 Paperveins Museum of Art Biennial, curator: Kóan Jeff Baysa; artists: Barton Benes, George Bolster, Dove Bradshaw, Francesco Civetta, Ben Collier-Fac, Linda Dennis, Ingrid Falk and Gustavo Aguerre, Fred Fleisher, Jeph Gurecka, Lars Kremer, Kevin Llewellyn, Jason Clay Lewis, Valentino Marengo, Ben Moon, John Mulcahy, Stephen Olivier, Lilla Locurto and Bill Outcault, Reynolds, Scott Serano, Aaron Shepard, Marc Swanson, Virgil Wong; The Here Art Center, New York (They were and Went, 2004)
 

Dove Bradshaw and Ian Schals, curator: Sam Jedig; artists: Dove Bradshaw and Ian Schals; Stalke Gallery, Roskilde, Denmark (Self Interest, 1998, BRADSHAW, 2003, 2/0, 1989 edition, Medium, 1992)

 
Bottle Art Contemporary Art and Vernacular Tradition, curator: Richard Klein; The Aldrich Museum, Ridgefield, Connecticut (Self Interest, 1998, O Dress, 2004)
 
View Point: Works from the Museum Collection, curator: Marianne Bech; artists: John Cage, Christian Marclay, William Anastasi, Dove Bradshaw, Nam June Paik, Laurie Anderson, A Dolven, Berty Skuber, Geoffrey Hendricks, Marcel Duchamp, Yoko Ono, Joe Jones, Henrik Have, Grete Brodersen, Anne Tardos, Akio Suzuki, Ben Vautier, Brandon LaBelle, Gertrude Stein, Kassandra Wellendorf; The Samstidskunst Museum of Contemporary Art, Roskilde, Denmark
 2003
The Invisible Thread: Buddhist Spirit in Contemporary Art, curators: Robyn Brentano, Olivia Georgia, Roger Lipsey and Lilly Wei, Newhouse Center for Contemporary Art, Snug Harbor, New York (Negative Ions II, 1996)
 
Topoi of Nature, curator: Stephanie Hering; artists: Dove Bradshaw, Ulrich Erben, Paul-Arnaud Gette, Jon Sheltan; Volckers & freunde Gallery, Berlin(2 Nothing Series II, 2000, Crack In The Air, 1991)
 
Frankenstein, curator: Ethan Sklar; artists: Dove Bradshaw, Renee Coppola, Olafur Eliasson/Elias Hjorleifson, Katy Grannan, Damien Hirst, Sam Kusack, Ivan Navarro, Rivane Neuenschwander, Danica Phelps, Roxy Paine, Roman Signer, Gillian Wearing, Erwin Wurm; Tanya Bonakdar Gallery, New York (Negative Ions II, 1996/2003)
 
LeWitt’s LeWitts, curator: Sol LeWitt, New Britain Museum of American Art, New Britain, CT (Angle I, 2000)
 
Unexpected Dimensions: Works from the LeWitt Collection, Davison Art Center, Wesleyan University, Middletown, CT (Angle I, 2000, Without Title III, 1994)
2002

Charles Carpenter Collection, curator: Richard Kline; artists: Vito Acconci, William Anastasi, Janine Antoni, Dove Bradshaw, Jean Dubuffet, Spencer Finch, Alan Johnson, Claus Oldenberg, Jackson Pollock, Ad Reinhardt, David Smith, Fred Tommeselli, The Aldrich Museum, Ridgefield, CT (Contingency, 1994)

 
Summer White, Some Are Not, gallery artists: Stuart Arends, Dove Bradshaw, David Goerk, Barry Goldberg, Kocot and Hattan, Jim Lee, Quentin Morris, Jon Poblador, Steve Riedell, Bill Walton, John Zurier; Larry Becker Contemporary Art, Philadelphia(Angles II, 2000)
 
blobs, wiggles and dots, webs and crustillations, curator: Lucio Pozzi; artists: Lawrence Anastasi, William Anastasi, Danielle Andrews, Silberg, Walter Biggs, Dove Bradshaw, John Cage, Elsa D’Arrigo, Richard Pousset D’art, Jean Dubuffet; The Work Space, NY (Concrete Painting, 2000)
 
Jesus_C_Odd_Size, curator: Kirsten Dehlholm; artists: William Anastasi, Roy Andersson, Franko B, Dove Bradshw, Kirsten Dehlholm, Mike Diana, A.K. Dolven, Sergei Gitman, Carl Michael von Hausswolff, Carl Fredrik Hill, Michael Janiszewski, Svein Ove Kirkhorn, Regin Hjertholm, Bjorn Eivind Aartun, Tomas Lahoda, Lawrence Malstaf, Albert Merz, Anette Sndegard, Bjorn Johansson, Katarina Borg Gyllenback, Richard Sandler, Mikael Theijll, Gritt Uldall-Jenssen; Nikolaj Contemporary Art Center, Copenhagen (Double Negative, 1993)
 
Benefit for the Drawing Center, 25th Anniversary Benefit Selections Exhibition, From Formerly Exhibited Artists, artists: Haluk Akakce, Laylah Ali, Miriam Atharar, Stavit Allweis, D-L Alvarez, Joe Andoe, Ronalt Anteroinen, Jan Arabas, Dan Asher, Donald Baechler, Andrius Balukas, Jill Baroff, John Beech, Dove Bradshaw, Enicoe Eisenman, Eve Eisenstadt, Jacob El Hanani, James Elaine, Suzan Frecon. Teo Gonzalez. Andrew Grassoe. Eric Hollzman. John King. Shelagh Keely, William Kentrige. Thomas Lawson. Julian Lethbridge, Glenn Ligon, Sharon M. Louden, Jim Melchert, Stefanie Nagorka, Douglas Navarra, Joseph Nechvatal, Jack Pierson, Rebecca Quatman, George Negroponte, Ernesto Neto, Nedra Newby, Helen Oji, Linda Salerno, Claudia Schmacke, Robert Selwyn, Julie Shapiro, David Sharpe, Shahzia Sikander, Amy Sillman, Tom Slaughter, Janet Snett, Oona Stern, Catherine Tirr, Judyth Van Amringe, Bruce Wall, Kara Walker, Joan Waltemath, Terry Winters, Melissa Worfe, Michael Zansky, Paul Zawisha; The Drawing Center, New York
 
Twenty Years of Danish Art, Stalke Gallery, Copenhagen (Passion, 1993)
2001
Anastasi, Bradshaw, Cage, curators: Marianna Bech and Dove Bradshaw, Museum of Contemporary Art, Roskilde, Denmark catalogue (White Enough, 2000, 2/0, 1971, Untitled, 1969, silver eggshell, Contingency [Book II], 1995
 
Renaissance Press, curator: Paul Taylor; artists: Alvarez, Armstrong, Bradshaw, Canas, Dela Torre, Dugdale, Izu, Michals, Palma, SuterIzu, Siskind, Taylor, Spheris Gallery, New York (medium, 1992)
 
Century of Innocence, The History of the White Monochrome, curator: Bo Nilsson; artists partial: William Anastasi, Dove Bradshaw, Lucio Fontana, Robert Gober, Mona Hatoum, Callum Innes, Jasper Johns, Elssworth Kelly, Clay Ketter, Yves Klein, Wolfgang Laib, Sherrie Levine, Sol LeWitt, Kasimir Malevitch, Piero Manzoni, Gerhard Merz, Ben Nicholson, Robert Rauschenberg, Robert Ryman, Karin Sander, Sophie Tauber-Arp, Gunter Uecker, Franz West, Dan Wolgers, Remy Zaugg; Rooseum Contemporary Art Center, Malmo, Sweden (Boundary, 1991)
2000
Century of Innocence, The History of the White Monochrome, curator: Bo Nilsson; Liljevalchs Konstall, Stockholm (Boundary, 1991)
 
Hindsight/Fore-sight: Art for the New Millennium, curator: Lyn Bolen Rushton; artists partial: Susan Bacik, Dove Bradshaw, Tim Curtis, Agnes Denes, Rosemarie Fiore, Ann Hamilton, Michael Mercil, Todd Murphy, Dennis Oppenheim, Beatrix Ost, Luscio Pozzi; University Art Museum, University of Virginia, Charlottesville, Virginia (Notation II, 2000 and Waterstone, 1996)
 
Destruction/Creation, curators: Rosa Essman and Adam Boxer; artists partial: Abramovic, Acconci, Anastasi, Arman, Bradshaw, Burden, LeWitt, Lichtenstein, Matta-Clark, Mendieta, Tinguely, Warhol; Ubu Gallery, New York (Indeterminac Cube, 1995)
 
Reconstructions, curator: Sandra Kraskin; artists: Dove Bradshaw, Richmond Burton, Lydia Dona, Vernon Fisher, Melissa Gwyn, Jane Hammond, Ellen K. Levy, Doug Martin, Donna Moylan, Alexis Rockman, Juan Usle, Darren Waterston; The Sidney Mishkin Gallery, Baruch College, New York (Contingency Pour, 1994)
 
Recent Acquisitions, curator: Innis Schoemaker, The Philadelphia Museum of Art, Philadelphia, Pennsylvania (Medium, 1992)
 
Art on Paper, The 36th Art On Paper Exhibition, curators: Ron Platt and Nancy Doll; Weatherspoon Art Museum, Greensboro, North Carolina
 
Ethereal and material, curator: Dede Young; artists: Sarah Biemiller, Dove Bradshaw, Mary Carlson, Enrique Martinez Celaya, Lesley Dill, Margaret Evanegeline, Ann Hamilton, Oliver Herring, Ron Janowich, Tobi Kahn, Linda Matalon, Claudia Matzko, Brigitte Nahon, Stacey Neff, Melinda Stickney-Gibson, Ann Sperry, Kiki Smith, Adam Straus, Julie Trager; Delaware Center for the Arts, Wilmington, Delaware (Equivalents [Book], 1991)
 
Fluid Flow, curator: Valerie McKensie; artists partial: Jennifer Bolande, Dove Bradshaw, Stephan Hannock, Aric Obrosey; James Graham & Sons, New York (2/0, 1971, Without Title, copper bar, ammonium chloride copper sulfate, 1994, NotationV, 2000)
1999
Renaissance Press 13th Anniversary Exhibition, curator: Paul Taylor; artists: Dove Bradshaw, Marta Maria Perez-Fravo, Kenro Izu, McDermott & McGough, Duane Michals, Luis Conzalez Palma, Aaron Siskind, Gerardo Suter, Milagros de la Torre, Victor Basquez, Nana Watanabe; John Stevenson Gallery, New York (Medium, 1992)
 
Primary Source, curator: Regina Coppela; artists: Roger Ackling, Dove Bradshaw, Sandy Gellis; University of Massachusetts, Amherst, Massuchusetts (Contingency Paintings, 1990s, Negative Ions I, 1996)
 
Merce Cunningham Fifty Years, curator: Germano Celante; artists partial: Andy Warhol, Jasper Johns, William Anastasi, Robert Rauschenberg, Morris Graves, Dove Bradshaw, Paul Kaiser, Shelley Eshkar, Mark Lancaster, Bruce Nauman; La Fundació Antoni Tàpies, Barcelona; traveled to Museu Serralves, Porto, Portugal; Castello Di Rivoli, Italy; Museum Moderna Kunst, Stiftung Palais Lichtenstein, Vienna (Fabrications, set design, 1986/87)
 

Nature/Process, curator: Kathleen Stoughton; artists: Roger Ackling, Dove Bradshaw, Mineko Grimmer, Daniel Ladd, Garnett Puett, Mario Reis, Canan Tolon, Jonathan White; University Art Museum, University of California at San Diego, San Diego, CA (Contingency [Boob], 1992, Contingency Painting, 1990s, Negative Ions I, red salt from Utah, 1996/1999)

1998
Paper +, Works on Dieu Donne Paper, curator: Jacqueline Brody, Winters; Dieu Donne, New York (Equivalents, 1995)
 
Into Focus: Art on Science, curator: Adrienne Klein; artists: Suzanne Anker, Dove Bradshaw, Robert Chambers, Agnes Denes, Francois Deschamps + Judith Mohns, Eve Andree Larameé, Ann Lovett, Ross Martin, Michael Oatman, Catherine Wagner, Louise Wilson, Daniel Zeller; Mandeville Gallery, Union College, Schenectady, New York (Negative Ions I, 1996, Contingency on Paper, 1985)
 
Pieces, curator: Silvia Netzer; 128 Gallery, New York (Without Title, copper bar, ammonium chloride copper sulfate, 1994, Notation II, 1996)
 
Dove Bradshaw, William Anastasi, Margrethe Sorensen, Torbin Ebbeson, curator: Sam Jedig; Stalke Gallery, Copenhagen (Concrete Paintings, 1998, Indeterminacy I, 1994)
1997
From Time to Time, curators: Sarah Slavick and Kevin Rainey; artists: William Anastasi, Z.B. Armstrong, Sarah Babst, Dove Bradshaw, Joyce Burstein, Mario Laplante, John O'Reilly; Iris and Gerald B. Cantor Art Gallery, College of the Holy Cross, Worcester, Massachusetts (Contingency [Book I], 1990, Contingency Painting, 1990s)
 
10th Anniversary Exhibition, Stalke Gallery, Copenhagen (Passion, 1993)
 
Artists’ Books, curator: Ann Gaulick; artists: Anastasi, Baldessari, Bourgeois, Bradshaw, Brassai, de Kooning, Johns, Kelly, Matisse and Ryman; Baumgartner Galleries, Washington, DC(Contingency [Book I], 1990)
 
Charles Carpenter Collection, curator: Mark Francis; artists: Vito Acconci, William Anastasi, Janine Antoni, Linda Benglis, Dove Bradshaw, Jim Dine, Jean Dubuffet, Spencer Finch, Alan Johnston, Ellsworth Kelly, Franz Kline, John Latham, John Marin, Kenneth Noland, Claes Oldenburg, Jules Olitski, Jackson Pollock, Ad Reinhardt, Richard Stankiewicz, Myron Stout, Mark Toby, Fred Tomaselli, Charles Shaw, Frank Stella, Andy Warh,l; The Whitney Museum of American Art, New York(Contingency Pour, 1994, Carbon Removal, 1992)
1996
Charles Carpenter Collection, curator: Mark Francis; artists: Vito Acconci, William Anastasi, Janine Antoni, Linda Benglis, Dove Bradshaw, Jim Dine, Jean Dubuffet, Spencer Finch, Alan Johnston, Ellsworth Kelly, Franz Kline, John Latham, John Marin, Kenneth Noland, Claes Oldenburg, Jules Olitski, Jackson Pollock, Ad Reinhardt, Richard Stankiewicz, Myron Stout, Mark Toby, Fred Tomaselli, Charles Shaw, Frank Stella, Andy Warhol; Carnegie Museum of Art, Pittsburgh (Contingency, 1994)
 
New Art On Paper, Acquired From The Philadelphia Museum Collection, 1989-1995, curator: Innis Schumacher, The Philadelphia Museum of Art, Philadelphia, PA (Three Carbon Removals, 1992)
 
Time Wise, curator: Karen Kuoni; artists partial: William Anastasi, Dove Bradshaw, Wolfgang Laib; The Swiss Institute, New York (Indeterminacy [Film], 1995, 2/0, 1971)
1995
Time Memory and the Limits of Photography, curator: Ellen Handy; artists: Dove Bradshaw, Jung Jin Lee, Mikael Levin, Wojiech Prazmowski, Barbara Rosenthal, Paul Salamon, Center for Photography at Woodstock, Woodstock, New York (Plain Air photographs from PS1, 1991)
 
Vital Matrix, curator: Jane Hart; Domestic Setting, Los Angeles (Zn + S, 1995)
 
Dieu Donne Editions & Series 1988-1995, curator: Paul Wong; artists partial: Dove Bradshaw, Sarah Brayer, Amanda Guest, Dieu Donne, New York (Equivalents, 1995)
 
Renaissance Press, curator: Paul Taylor; artists: Roy DeCarava, Aaron Siskind, Natan Nuchi, James Weinstein, Olivia Parker, Luis Gonzalez Palma, Alan Rohan Crite, Dove Bradshaw, Paul M. Taylor, Marilyn Bridge, Juan Sanchez; Renaissance Press, AIPAD, NY (Medium, 1992)
 
depart, curator: Bernard Toale; Bernard Toale Gallery, Boston (Carbon Removals, 1992)
1994
Indeterminacy (Bradshaw) with Blind Drawings (William Anastasi); Werner Kramarsky, New York (Indeterminacy [Book], 1992, Contingency on Wood, 1993, Full, 1990)
 
concurrent with: Contingency (Bradshaw) with Autobodyography (William Anastasi); Sandra Gering Gallery, New York (Contingency Paintings and on Paper, 1990s)
 
Painting in Transition, curator: Barry Rosenberg; artists: Helen Aylon, Dove Bradshaw, Jane Laudi; The Aldrich Museum, Ridgefield, Connecticut ((Contingency Paintings, 1990s and Contingency [Book I], 1990)
1993
William Anastasi Drawing Sounds: An Installation in Honor of John Cage, curator: Ann D’Harnoncourt; artists and composers and others who knew John Cage invited by William Anastasi: Jasper Johns, Merce Cunningham, Dorothea Tanning, William Anastasi, Dove Bradshaw, Takahesi Kosugi, Laura Kuhn, Tom Marioni, Mimi Johnson, Jackie Monnier, Grete Sultan; The Philadelphia Museum of Art, Philadelphia(Sound Drawing, 1993)
 
Rolywholyover Circus (an exhibition based on the life and work of John Cage), curators: John Cage and Julie Lazar; 50 artists selected by John Cage, The Los Angeles Museum of Contemporary Art; traveled to: The Menil Collection, Houston; Solomon R Guggenheim Museum, Soho, New York; The Philadelphia Museum of Art; Mito Art Tower, Mito, Japan (Boundary, 1990, 2 Contingencies on Paper 1985-1992, two Carbon Removals, 1992)
 
Concurrencies II, curator: Lucio Pozzi; William Patterson College, New Jersey (Medium, 1992, Contingency Painting, 1993)
 

Merce Cunningham Dance Company Benefit, artists: William Anastasi, Richard Artschwager, Ross Bleckner, Louise Bourgeois, Dove Bradshaw, John Cage, Christo, Francesco Clemente, Merce Cunningham, David Deutsch, Carroll Dunham, Robert Gober and Joyce Carol Oates, Kenneth Goldsmith, Peter Halley, Bryan Hunt, Jasper Johns, Mary Jean Kenton, Carl Kielblock, Mark Lancaster, Julian Lethbridge, Gary Lichtenstein and Elliot Caplan, Claes Oldenburg and Coosje van Bruggen, Nam June Paik, Robert Rasuchenberg, David Salle, Laurie Simmons, Marsha Skinner, Keith Sonnier, Pat Steir, Gary Stephan, William Wegman, Terry Winters; Cunningham Dance Foundation, New York (Earwitness, 1990, acquired by John Cage)

 
Summer Exhibition, curator: Sandra Gering; artists: Dove Bradshaw, Leonard Bullock, Orshi Drozdik, Ben Kinmont, Vivienne Koorland, Choong Sup Lim, Jane Logemann, Ilona Lovas, Cosimo DiLeo Ricatto, Tony Thompson; Sandra Gering Gallery, New York (Ag/K2SX + K2S2O3, 1993)
 
Paintings: Group Exhibition, curators: Kim Montgomery and Carolyn Glasoe; artists: Phil Barber, Dove Bradshaw, Linda Karshan, Shannon Kennedy, Todd Norsten, and David Rathman; Montgomery Glasoe Fine Art, Minneapolis, Minnesota (Boundary, 1990)
1992
The Feminine in Abstract Art, curator: Shirley Kaneda; artists: Dove Bradshaw, Cora Cohen, Mary Heilman, Shirley Kaneda, Jonathan Laskar; The Sandra Gering Gallery, New York (A man lost in a desert always bears right, 1990)
 
Concurrrencies, curator: Lucio Pozzi; artists: same as above, Grace Borgenicht Gallery, New York
 
Drawn in the ‘90’s, curator: Joshua P. Smith; Katonah Museum of Art, Katonah, New York (Crack In The Air, 1991, Full, 1991)
1991
Carnegie International, Exhibited by John Cage as part of his presentation; forty-eight works: twelve each by Dove Bradshaw, John Cage, Mary Jean Kenton, Marsha Skinner; The Carnegie Museum, Pittsburgh (twelve Contingency Work on Paper, 1985-1991)
 
How to Use Small Areas in a Dozen Different Ways to Bring a Room to Life, curator: Bogdan Perzryuski; Arte Museum, Austin, Texas
 
New York Diary: Almost 25 Different Things to See, curator: Ryzsard Wasco and Zdenka Gabalova; PS1 Contemporary Art Center, LIC, New York (Plain Air, 1969/1991)
 
Selections / Winter ’91, curator: Anne Philbin; artists: Dove Bradshaw, Steven Evans, Robert Goldman, Bruno Jakob, John Larabee, Brad Melamed, Stefanie Nagorka and Jack Pierson; The Drawing Center, New York (four Contingency Works on Paper, 1985-1991)
1990
Drawings of the Eighties Part II: From the Permanent Collection, curator: Bernice Rose; The Museum of Modern Art, New York (Without Title, potatoe head Children's drawing, 1986)
 
Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, Tobey [Chance derived work from John Cage’s collection], curator: Dove Bradshaw, Sandra Gering Gallery, New York catalogue (Contingency, 1989, Without Title [two Carbon Removals], 1990, Riverstone, 1990)
1989
Lines of Vision, curator: Dr. Judy K Collishan Van Wagner; Blum Helman and C.W. Post, New York (five Collages on Wood, 1980s)
 
Strange Attractors: Signs of Chaos, curator: Laura Trippi; artists: Steve DiBenedetto, Dove Bradshaw, Glenn Branco, Ellen Brooks, John Cage, Collins & Milazzo, Orshi Drozdik, Dana Duff, Laura Emrick, Diana Formisano, Ann Hamilton with Kathryn Clark, Carter Hodgkin, Jon Kessler, Eve Andree Laramee, Zoe Leonard, Jill Levine, Steve Miller, Peter Nagy, Joseph Nechvatal, Alistair Noble, Cady Noland, David Nyzio, Don Reynolds, Walter Robinson, Andres Serrano, David Smith, Jon Tower, Sakhi Wagner, Oliver Warsaw, James Welling, Grace William and Litine, The Wooster Group; The New Museum, New York (loaned I Ching Notations, 1951, John Cage, Without Title, 1989, silver on vellum calfskin)
 
Work from the 80's from the Permanent Collection, curator: Charles Stuckey; The Art Institute of Chicago, Chicago, Illinois (Nothing Series I, 1989)
1988
Benefit for Merce Cunningham Dance Company, curator: David Vaughan; artists: William Anastasi, Dove Bradshaw, Robert Morris, Morris Graves, John Cage, Bob Rauschenberg, Andy Warhol, Bruce Nauman, Mark Lancaster; Blum Helman, New York (Carbon Removals, 1980s)
 
Spring Group Show, curator: Karen Bravin; Lang and O’Hara Gallery, New York (Painting on Vellum, 1988)
 
Benefit for the Contemporary Performance Arts Foundation, curators: John Cage and Jasper Johns; Castelli Gallery, New York (Carbon Removals, 1980s)
1987
Benefit for AIDS, curators: Susan Lorence and Bob Monk; 250 artists; Lorence Monk Gallery, New York ( Painting on Vellum, 1987)
 
Merce Cunningham and His Collaborators, curator: Nina Castelli Sundell; artists: William Anastasi, Dove Bradshaw, John Cage, Bob Rauschenberg, Andy Warhol, Bruce Nauman, Mark Lancaster, Morris Graves, Jasper Johns; Lehman College Art Gallery, City University of New York (Fabrications, 1987, set design)
1985
Group, artists: William Anastasi, Dove Bradshaw, Terry Winters; Lorence Monk Gallery, New York (six Collages on Wood, 1980s)
 
Dove Bradshaw: Riverstone: Science Museum, Koran-Sha Company, Tokyo (Riverstone frotages)
1984
Benefit for Merce Cunningham Dance Company, curator: Jasper Johns; Castelli Gallery, New York (two Carbon Removals, 1980s)
 
Anne Ryan, Dove Bradshaw (Group), curator: Ann Lauterbach; Joan Washburn Gallery, Soho, New York (Collages On Wood, 1980s)
1983
Group Exhibition, curator: Ann Lauterbach; Joan Washburn Gallery, Soho, New York (Collages On Wood, 1980s)
1982
Exhibition in Honor of John Cage’s 60th Birthday, curator: Judith Pisar; artists: Anastasi, Bradshaw, Cage; The American Center in Paris (Carbon Removals, 1980s)
1981
8 Painters, curator: Dove Bradshaw; artists: Jon Abbot, William Anastasi, Dove Bradshaw, Dana Gordon, Bruce Halpin, Carl Kielblock, Theodoros Stamos, Douglas Vogel; The Ericson Gallery, New York (Without Title, 1981, miniature paintings oil on plastic purchased by John Cage)
 
Group Show, curator: Takis Efstanthiou; artists: Jon Abbott, William Anastasi, Dove Bradshaw, Tim Crowley, Dionisis, Espilit, Francine Gintoff, Dana Gordon, Bruce Halpin, Carl Kielblock, Clayton Mitropoulos, Edith Newhall, Robert Quijada, Stamos, Yvonne Thomas, Douglas Vogel, Gerald Wolfe; Ericson Gallery, New York (Carbon Paper collages, 1980)
1980
Small Works, Open Competition; New York University, New York ((A)Muse, 1980)
1979
Sound, curator: Alanna Heiss; PS1 Contemporary Art Center, LIC, New York (Tweet, Tweet, 1979 in collaboration with William Anastasi and Carl Kielblock)
 
Fluxus’ New Interpreters, curator: Peter Frank; artists partial: Anastasi, Bradshaw, Friedman, Higgens, Knowles; Interart Gallery, New York (Without Title, 1979, wrapping paper, Cliche, 1979)
1978
Couples, curator: Alanna Heiss; artists: Klaus Rinke and Monika Baumgartle, William Anastasi and Dove Bradshaw, Bernard and Hilla Becker, Nam June Paik and Shigeko Kubota, the Harrisons; PS1 Contemporary Art Center, LIC, New York (Without Title, 1978, folded vellum in lead came frames designed by the artist)
1977
New Talent, curator: Allan Stone; The Allan Stone Gallery, New York (Chairs, 1977)
 
Two Person Exhibition, curator: Terry Davis; Graham Modern, New York (Leaf Drawings from Wave Hill, 1977)
 
Group, Fendrick Gallery, Washington, DC (Chairs, 1977)
1976
New Talent, curator: Allan Stone; Allan Stone Gallery, New York (Chairs, 1977)
1975 Fifth Year Competition, Boston Hippodrome, The School of the Museum of Fine Arts, Boston (Without Title [glass butterflies], 1974/5 and Reliquaries, 1974)

 

CURATOR
2014
Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, Tobey, 1990/2014 Strategies of Non Intention: Works By Artists Collected by John Cage, curator: Dove Bradshaw, Sandra Gering Gallery Inc., New York (https://www.artsy.net/show/sandra-gering-inc-1990-slash-2014-strategies-of-non-intention-john-cage-and-artists-he-collected)
2013

William Anastasi: Sound Works 1963-2013, organized by Dove Bradshaw, curator: Associate Professor Maxim Weintraub, The Bertha and Carl Leubsdorf Gallery, Hunter College, New York

2009
ONE Copenhagen, 6 Americans and 6 Danes, curator: Dove Bradshaw; American artists: William Anastasi, Carl Andre, Robert Barry, Dove Bradshaw, Melissa Kretschmer, Janet Passehl; 6 Danes: Soren Dalgaard, Torben Ebbesen, Kristian Hornsleth, Sam Jedig, Lone Mertz, Nikolaj Recke, Stalke Up North, Copenhagen
 
ONE More Cologne: Dedicated to Sol LeWittartists: Lawrence Anastasi, William Anastasi, Carl Andre, Robert Barry, Dove Bradshaw, Marcia Hafif, Jene Highstein, Melissa Kretschmer, Sol LeWitt, Richard Nonas, Janet Passehl, Cordy Ryman, Robert Ryman, Merrill Wagner; Thomas Rehbein Gallery, Cologne
2008
ONE More: Dedicated to Sol LeWittartists: Lawrence Anastasi, William Anastasi, Carl Andre, Robert Barry, Dove Bradshaw, Marcia Hafif, Jene Highstein, Melissa Kretschmer, Sol LeWitt, Richard Nonas, Janet Passehl, Cordy Ryman, Robert Ryman, Merrill Wagner; curator:Bradshaw, Esbjerg Museum of Modern Art, Esbjerg, Denmark
2007
ONE: Dedicated to Sol LeWitt, artists: Anastasi, Andre, Barry, Bradshaw, Hafif, Highstein, Kretschmer, LeWitt, Nonas, Wagner, Born Ressle Gallery, New York
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
1990
1981 8 Painters, artists: Jon Abbot, William Anastasi, Dove Bradshaw, Dana Gordon, Bruce Halpin, Carl Kielblock, Theodoros Stamos, Douglas Vogel, The Ericson Gallery, New York
1979
Timothy Bradshaw: Luthier, Astor Vincent Gallery, Lincoln Center, New York



ARTISTIC ADVISOR TO THE MERCE CUNNINGHAM DANCE COMPANY

Appointed along with William Anastasi in 1984
Loosestrife, 1992, World première, Théâtre de La Ville, Paris. Music: Michael Pugliese; Design, Costumes and Lighting: invited Carl Kielblock
Trackers, 1991, World première, City Center, New York. Music: Emanuel Dimas De Melo Pimenta; Design, Costumes and Lighting for stage
Cargo X, 1989, World première, University of Texas, Austin, Texas. Music: Takehisa Kosugi; Design, Costumes and Lighting for stage
Inventions, 1989, World première, City Center, New York, Music Sculptures Musicales (1989): John Cage; Design, Costumes and Lighting for stage: invited Carl Kielblock
August Pace, 1989, World première, City Center, New York, Music: Michael Pugliese; Design, Costumes: invited Sergei Bugaev (Afrika); Lighting, Dove Bradshaw
Events, 1989, Grand Central Station, New York. Music: David Tudor; Costumes for stage
Carousal, 1987, World première, Jacob's Pillow, Lee, Massachusetts. Music: Takehisa Kosugi; Design, Costumes, and Lighting for stage
Fabrications, 1987, World première, Northrup Auditorium, Minneapolis and revival for MCDC’s 50th Anniversary, Lincoln Center, NY (one of four with one premiere). Music: Emanuel Dimas De Melo Pimenta; Design, Costumes and lighting for stage
Points in Space, 1987, World première, City Center, New York and for the Opera de Paris Garnier, Paris, Commissioned by Artistic Director, Rudolf Nureyev. June, 1993. Music: Voiceless Essay (1985): John Cage; Design: William Anastasi; Bradshaw: Costumes
Points in Space, BBC, London, 1986, Video, Wins Prague d’Or [gold prize], at the 30th International Television Festival, 1987. Costumes
Events, 1985, Joyce Theater, New York. Costumes
Arcade, 1985, World première, City Center, New York and commissioned by the Pennsylvania Ballet, Academy for Music, Philadelphia. Music: Etudes Boreales I-IV (1978): John Cage; Design, Costumes and Lighting for stage
Deli Commedia, 1985, Video, Merce Cunningham Studio, New York. Music: Pat Richter; Costumes
Native Green, 1985, World première, City Center. Music: John King; Design, Costumes: William Anastasi; Bradshaw: Lighting for stage
Phrases, 1984, World première, Théâtre Municipal d’Angers, Angers France. Music: David Tudor; Design: William Anastasi; Bradshaw: Costumes and Lighting for stage
2011
Fabrications (Revival), 1987, Ballet de Lorraine, National Opéra House, Nancy, France; Théâtre Les Gémeaux - Scène Nationale, Sceaux, France
2014 Native Green, 1985, Simon Fraser University, British Columbia, Canada
2017 Fabrications (Revival), 1987, Ballet de Lorraine for Merce Cunningham: Common Time at the Walker Art Center and the Museum of Contemporary Art Chicago


THEATER

1984
Camouflage, conceived in 1979, an installation painted in Dazzle Camouflage taken from WWII Navy camouflage, inspired a theater piece written and directed by Linda Mussman, performed by Claudia Bruce, music by Semih Firengioglu, Time and Space Limited, New York
1985
Camouflage, an installation executed in raw canvas cut in Dazzle Camouflage patterns, Utica College of Syracuse University, Utica, New York; written and directed by Linda on Mussman, performed by Claudia Bruce, music by Semih Firengioglu, Time and Space Limited, New York; design and lighting,


BOOKS/CATALOGUES solo

Stuckey, Charles interview of the artist, UNINTENDED CONSEQUENCES, Danese Corey Gallery, New York, 2016
Danese, Renato, Timepiece, Danese Corey Gallery, New York, 2014
Newhall, Edith, COPPER, SILVER, FOOL'S GOLD, Larry Becker Contemporary Art, Philadelphia, PA,, 2014
Frankel, David, DOVE BRADSHAW 1999-2011, Editions with Niels Borch Jensen, Copenhagen, Stalke Edition, Copenhagen, 2013
Bradshaw, Dove, MULTIPLES & OBJECTS, Limited Edition Box of 10; on-line publication see Artist's Books, 2012
Frankel, David, IMAGES, Limited Edition Box of 10, on-line publication see Artist's Books, 2010
Fallon, Roberta, Newhall, Edith, ZERO TIME, ZERO SPACE, INFINITE HEAT, ANGLES, QUICK CONSTRUCTIONS, Limited Edition Box of 10; on-line publication see Artist's Books, 2010
Bradshaw, Dove; with texts by John Cage, Regina Coppola, Elizabeth Flower, Ken Johnson, Janet Koploz, Barry Schwabsky, Joel Simpson, Charles Stuckey and Reagan Upshaw, CONTINGENCY, Limited Edition Box of 10, artist text; on-line publication see Artist's Books, 2009
Bradshaw, Dove; with quotes from John Cage, Collette Chattopadhyay, Regina Coppola, Peter Michael Hornung, Janet Kaploz, Thomas McEvilley, Duncan McLean, Ann Barclay Morgan, Mette Samdbye, COPPER & STONE, Limited Edition Box of 10, artist text; on-line publication see Artist's Books, 2009
Bradshaw, Dove; Lilli, Andrea, SALT, Limited Edition Box of 10, artist text; on-line publication see Artist's Books, 2009
Bradshaw, Dove; with passages by John Cage, Ellen Handy and Thomas McEvilley, PLAIN AIR, Limited Edition Box of 10, artist text; on-line publication see Artist's Books, 2009
Bradshaw, Dove, RADIO ROCKS, Limited Edition Box of 10, artist text; Free Forum Natura, Baronessa Lucrezia Durini and Larry Becker Contemporary Art, Philadelphia; on-line publication see Artist's Books, 2008
Texts by John Cage, Charles Stuckey, Battalion Commander Robert Schildhorn, Wilfredo Chiesa, Stuart Little, Carl Andre, Brian O’Doherty, Thomas McEvilley, James Putnam, Ray Johnson, Sol LeWitt, Ecke Bonk, Evelina Domnitch and Dmitry, David Ross, Marina Abramovic, Nick Lawrence, Steve Berg, Antony Haden-Guest, Francis Nauman, Barry Schwabsky, William Anastasi, Robert Barry, Emanuel De Melo Pimenta, George Meyers, Jr., Dove Bradshaw, Timothy Bradshaw, Daniel Charles, PERFORMANCE, Metropolitan Museum Fire Hose, Limited Edition Box of 10; on-line publication see Artist's Books, 2008
Stuckey, Charles, Time Matters, Pierre Menard Gallery, Cambridge, MA, 2008
Stuckey, Charles, Time & Material, Senzatitolo Gallery, Rome, 2007
McEvilley; Thomas, including republication of A Conversation Between John Cage and Thomas McEvilley, 1992, The Art of Dove Bradshaw, Nature, Change and Indeterminacy, Mark Batty Publisher, West New York, New Jersey, 2003
Lillemose. Jacob, we are beginning to get nowhere, interview of William Anastasi; Still Conversing with Cage, interview of Dove Bradshaw; John Cage, Karl Aage Rasmussen, Anastasi Bradshaw Cage, The Museum of Contemporary Art, Roskilde, Denmark, 2001
Lazar, Julie, Introduction by “Dove Bradshaw” by Mark Swed, afterward by Barbara Novak; “Jan Henle: Sculpture of No Thing” by Nancy Princenthal, Dove Bradshaw / Jan HenleThe Museum of Contemporary Art, Los Angeles, 1998
Quotes from the Tao Te Ching, Henry David Thoreau, John Cage, Franz Kafka selected by the artist, Dove Bradshaw: Inconsistency, Sandra Gering Gallery, New York and Stalke Gallery, Copenhagen, 1998
Morgan, Anne, Dove Bradshaw; Indeterminacy, Sandra Gering Gallery, New York and Stalke Kunsthandel, Copenhagen, 1997
Selected quotes about the artist, Dove Bradshaw, Contingency and Indeterminacy [Film], Stalke Kunsthandel, Denmark, 1996
Schwabsky, Barry, Living Metal, Dove Bradshaw, Pier Gallery, Stromness, Orkney, Scotland, 1996
A Conversation Between John Cage and Thomas McEvilley, 1992, Dove Bradshaw: Works 1969-1993, Sandra Gering Gallery, New York, 1993
 


BOOKS

Circus of Stillness...the power over wild beasts, The Watermill Center Summer Benefit, 2015 Lot 26 (Angles for Robert Wilson, 2008/15)
The Devil's Heaven, The Watermill Center Summer Benefit, 2013. Lot 20 (I Am Myself Heaven & Hell,photograpvure, 2008)

Begin Again, A Biography of John Cage, Kenneth Silverman, Alfred A. Knopf, New York, 2010, pp. 276-7, 308, 348, 394, 397, 404

Drawn / Taped / Burned: Abstraction on Paper,Katonah Museum, Katonah, New York for Werner H. Kramarsky Drawing Collection, 2010 (WIthout Title [Carbon Removal], 1992)
The Third Mind, American Artists Contemplate Asia, 1860-1989, Solomon R. Guggenheim Museum, New York, January 30-April 19, 2009, Alexandra Munroe, Guggenheim Museum Publications, New York (2/0, 1971), pp. 207, 400
560 Broadway, A New York Drawing Collection at Work, 1991-2006, Fifth Floor Foundation, New York & Yale University Press, New Haven, CT, 2008 pp. 48-49. 135, 140 (Contingency Jet, 2002)
The Missing Peace, Artists & The Dalai Lama, Earth Aware Editions, San Rafael, CA, 2006 (salt, half heard in honor of the Dalai Lama, 2004)
2006 Arts Sciences and Technology Foundation Observatory, Arte final / final art: ASA Art and Technology, of London, www.asa-art.com/asa.html. Portugal, 2006 (Constructions and Notations, 2006-7)
The Invisible Thread: Buddhist Spirit in Contemporary Art, "If You Meet a Buddha, Kill The Buddha" by Dove Bradshaw, Snug Harbor Cultural Center, editors Jennifer Poole and Sarah Wyatt, 2004, p. 24, 25 (Negative Ions II, 1996)
Conversing With Cage, Second Edition, Richard Kostelanetz, Routledge, New York and London, 2003, pp. 200-202, 216-217
Sitting Jefferson: Contemporary Artists Interpret Thomas Jeffeson's Legacy, Jill Hartz, editor, University of Virginia Press, Charlottesville and London, 2003, p. 38 (Waterstone, 1996, Notation, 2000)
Art and Artifact, The Museum As Medium, James Putnam, Thames & Hudson, London, 2001, pp. 159, 172 (Performance, 1976 and DO NOT TOUCH, 1979)
The Century of Innocence, The History of the White Monochrome, Rooseum-Center for Contemporary Art, Malmo, Liljevalchs Konsthall, Stockholm, 2000, pp. 36,37 (Boundary, 1991)
ETHEREAL and material, Douglas Maxwell, introduction, Dede Young, essay, Delaware Center for the Contemporary Arts, Delaware, 2000, p.10 (Equivalents,1999)
Sculpture In The Age Of Doubt, Thomas McEvilley, "John Cage and Thomas McEvilley: A Conversation", Allworth Press, New York, 1999, penultimate chapter (Plain Air, 1969)
Installations MF Mattress Factory, 1990/1999, University of Pittsburgh Press, Pittsburgh, PA, 1999, pp. 26, 27, 148 (Plain Air, 1969)
Merce Cunningham: Fifty Years, David Vaughan, Aperture Foundation, New York, 1997, pp. 226, 227 228, 231, 232, 236, 243, 257 (Trackers, Cargo X, Carousal, Fabrications, Points In Space, Deli Commedia, Arcade, Native Green, Phrases, 1984-1991)
From Time To Time, Guest-curators: Sarah Slavick and Kevin Rainey, Iris and B. Cantor Art Gallery, College of the Holy Cross, Worcester, MA, 1997, pp. 16, 17, 27, 31 (Contingency and Contingency [Book], 1992)
Odyssey of a Collector: A Memoir by Charles Carpenter, Carnegie Museum of Art, Pittsburgh, PA, 1996, pp. 81, 136-139 (Contingency, 1995)
New Art On Paper, Philadelphia Museum of Art, Hunt Manufacturing Collection, 1996, pp. 18-19, 84 (Carbon Removals, 1992)
A Vital Matrix, Domestic Setting, Los Angeles, CA, 1995, pp. 1, 5 (Zn +S, 1993)
Rolywholyover A Circus, John Cage, Museum of Contemporary Art, Los Angeles, and Rizzoli, New York, 1993 (Contingency paintings and works on paper, 1985-1991, Boundary, 1991, Carbon Removals, 1992)
Blast 3; Remaking Civilization, The X-Art Foundation, New York, 1993 (including multiple Indeterminacy, Danger: Do Not Touch, Ingest Or Inhale, 1993)
Blast: The Spatial Drive, The X Art Foundation, New York, 1992 (multiple Ag + K2S203, 1993)
Gulliver’s Travels, Galerie Sophia Ungers, DuMont Buchverlag, Cologne, Germany, 1992, p. 36 (Medium, 1992)
Carnegie International, Carnegie Museum, Rizzoli, Carnegie Museum, 1991, p. 62 (Contingency I-XI, 1985-199I)
Anastasi Bradshaw Cage Marioni Rauschenberg Tobey, "...imitating nature in her manner of operation..., John Cage interviewed by Richard Kostelanetz, Sandra Gering Gallery, New York, 1990, pp. 3-4, 6, 11 (Contingency, 1989, Carbon Removals, 1981)
Lines of Vision, Drawings by Contemporary Women, Dr. Judy K. Collishan Van Wagner, Hudson Hills Press, New York, 1989, p. 27 (Collage on wood, 1986)
Strange Attractors; The Spectacle of Chaos, The New Museum Exhibition catalogue, Chicago, 1989 (Without Title, 1989, Spotted Cow: Vellum),
Art Against Aids, Stephem Reichard amd Anne Livet, the American Foundation for Aids Research, New York, 1987, p.147 (Without Title [head], oil on vellum, 1986)
Contacts Communicating Interpersonally, “She knows the Value of a Smile”, Teri Kwal and Michael Gamble, Random House, New York, 1983, p. 116 (30% [sic] Better, 1979, 50% Better)
Arteder Flash 82, Feria Internacionale de Muestra de Bilbao, Bilbao Muestra Internacional de Obra Graphica, Bilboa, 1982, p. 885 (30% [sic] Better, 1979 now titled 50% Better)
X, Writings ’79-’82, James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, John Cage, Wesleyan University Press, Middletown, Connecticut, pp. 84-85 (Bradshaw, a "letter" in Cage's Alphabet)

For The Birds, Sixth Interview, “I feel very close to conceptual art...” John Cage in conversation with Daniel Charles, Marion Boyars Boston: London, 1982, p. 157 (text)

Are You Experienced?, Bleus, Vrije Universitiet, G.B./ Administration Center, Kiekplein, Brussels, Belgium, 1981, p. 14 (Performance, 1976)
Windows at Tiffany’s The Art of Gene Moore, Judith Goldman with commentary by Gene Moore, Harry N. Abrams Inc., New York, 1980, p. 124 (Without Titles [dragon fly and Butterfly glass sculptures], 1974-75)
The Harvard Advocate, First Issue, Harvard University Press, Cambridge, MA, Dove Bradshaw's illustration of Plain Air, 1969 accompanying review of the publication of Dialogues with Marcel Duchamp, Pierre Cabanne, 1972), Summer, 1972, p. 88

 

REVIEWS
Kuspit, Donald, ARTForum, May 2016, Dove Bradshaw, Danese Corey Gallery and Sandra Gering Inc., 2016 (Contingency Paintings & Spent Bullets, 2003-16; and Angle Paintings, 2000-15)
De Cravencour, Muriel, MU in the CITY, Visual Arts Magazine blog, Dove Bradshaw Contingency Traces, Galerie Rehbein. (Contingency and Pigment Paintings, 1991-2014, Notation VII, 2011I)
Lanswroth, Bob, WideWalls, February 25, 2016, Dove Bradshaw, Triangular Abstraction, Sandra Gering Inc., 2016 (Angle Paintings, 2000-2015)
Solomon, Deborah, WNYC, Dec 18, 2015 · http://www.wnyc.org/story/rocks-non-jocks/ News Rocks for Non-Jocks (The Noguchi Museum, Museum of Stones Exhibition, Waterstone, image and on radio)
McDermon, David, New York Times, December 18, 2015 How To See Eternity In a Pile of Rocks, (The Noguchi Museum, Museum of Stones Exhibition, Waterstone)
Tauber, Natasha, Coolhand Hunting, Studio Visit: Conceptual Artist Dove Bradshaw, A look behind some of her stone work at the Noguchi Museum, 2015 http://www.coolhunting.com/culture/studio-visit-artist-dove-bradshaw
Byrnes, Susa, AEQAI, Cincinnati, Summer Pleasure: A Review of By the River at the Weston Gallery: http://aeqai.com/main/2015/08/summer-pleasures-a-review-of-by-this-river-at-the-weston-gallery/ (Contingency Paintings and Works on Paper)
Dillon, Noah, Gray is the Color if I Had a Heart: http://www.artcritical.com/2015/08/10/noah-dillon-gray-marc-straus/Marc Straus, New York (Contingency [Snow Tracks], 2013, review and reproduction)
Laska, Eric, interviewer for Later Additon, recorded October 2014, aired March, 2015 Dove Bradshaw: Strategies of Non-Intention, http://www.lateraladdition.or/#19
Ruas, Charles, Art News, June 12-September 5, 2-15, Reviews: New York, p. 1 Strategies of Non-Intention. (Sandra Gering: John Cage and Artists He Collected, Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, Tobey)
Silverman, Tanya, Breakthruradio, June 18th, 2014/ By: Life & Times John Cage's Chance and Other Strategies. (Sandra Gering)
Lily, Wei, Art News, June, 2014, Reviews: New York, p. 93, Dove Bradshaw, Danese/Corey. (Contingency Paintings, Negative Ions II, Nothing series II, and other works)
Newhall, Edith, The Philadelphia Inquirer, Nov. 4, 2012, Sunday Galleries, H 4 Bradshaw's art highlights chance, indeterminacy. (COPPER SILVER FOOL'S GOLD review)
Newhall, Edith, The Philadelphia Inquirer, Aug. 19, 2012, To Be Looked At...Summer Love. (Review of red paintings including Full, 1991)
Loos, Ted, The New York Times, Dec, 29, 2011,7/05, 2011, 8:39 PM, Cunningham Fostered Serendipity In Set Design. (Cunningham'sand Bradshaw's use of Chance and indeterminacy)

Duray, Dan, The New York Observer, The Transom, 7/05, 2011, 8:39 PM, How the Met Got (Fire) Hosed.

Sanderson, Katharine, Nature, Feb. 24, 2011, Vol. 47, Books & Art Comment, Macmillan Publishers L. Enigmatic elements.

Azziz, Ali Rahm, The Daily Pennsylvania, Oct. 27, 2011, 10:46 pm, Guest Column, The Chemical Heritage Foundation is a Museum that Makes Science Thoughtful, Provocative and Fun, permanent link: Guest Columns, Opinion: http://thedp.com/r/ead3a986.

Brouwer, Chris and Schaefer, Madeleine, Chemistry International, 2011, 3303oc./html, New Exhibit Kicks off the US Celebration of IYC.
Janci, Jenelle, The Temple News, Oct 11, 2011, pp. 1, 9, Artists Envision Chemistry in CHF Exhibit, In celebration of the International Year of Chemistry,Body Chemistry Provides Artistic Inspiration.
Kettner, Em, Title Magazine, Nov. 4, 2011, Elemental Matters: Artists Imagine Chemistry.
Jones, Stephen, Christies Spring Auction Sale Catalogue, 2011, p. 120, Property From The Cunningham Foundation Sold to Benefit Their Legacy Plan. (Bradshaw involved with Indetermincy like Merce Cunningham)
Hayden-Guest, Anthony [Flotsom], The Art Newspaper, 2011, 20 January, Features, A hose by any other name.
Donohoe, Victoria, The Philadelphia Inquirer, Feb. 18, 2011, Show features all 118 elements. Artists celebrate chemistry's gifts, Read more: http://www.philly.com/philly/entertainment/20110218_Show_features_all_118_elements_.
Nuit Blanche, Reunion, 2010, Raw Canape Chess Players. (Anastasi and Bradshaw recreate John Cage and Marcel Duchamp's 1968 chess game on Cage's musical board)
Christensen, Peter, Politiken, Kritik, June 9, 2009 Det Mender de Andre om Kunst, Den Lille Forkskels Kunst. (ONE Copenhagen, Stalke Up North, Copenhagen, 2009, artist/curator and Negative Ions II, Carbon Removals, review), picture: Kretchmer wax Window
Sangild, Torben, Politiken, 3, July 2009 Stalke Up North exhibits art of subtle differences, (ONE Copenhagen, Stalke Up North, Copenhagen, 2009, artist curator and Negative Ions II, Carbon Removals, review)
Hansen, Andreas, The Art Newspaper, June 2009 Full Blown Minimalism. (ONE Copenhagen, Stalke Up North, Copenhagen, 2009, artist curator and Negative Ions II, Carbon Removals, review)
Draxler, Saskia, ARTForum, Review, 2009 COLOGNE: ONE More. ( Thomas Rehbein Gallery, Cologn: artist curator and Negative Ions II, Carbon Removals, review)
Hess, Barbara, Stadt Revue, Das Kölnmagazin, February 2009, Once more Concept Art and Minimal Art in the Rhineland: The exhibition "One More" at the Thomas Rehbein Gallery, Cologne. (Review of ONE More Cologne, Thomas Rehbein Gallery, Cologne; Eine Gut Idee (In German). (Artist curator and Negative Ions II, Carbon Removals, review)
Imdahl, Von Georg, Kultur, January 23, 2009, When the Bees Fan Out, long version on-line, ONE More at Thomas Rehbein, ARTNET; Wenn die Bienen ausschwärme (In German). (Artist curator and Negative Ions II, Carbon Removals, review)
Imdahl, Von Georg, ARTNET, When the Bees Fan Out, short version, ONE More, Thomas Rehbein, ARTNET, January 23, 2009; Wenn die Bienen ausschwärme (In German). (Artist curator and Negative Ions II, Carbon Removals, review)
Simpson, Joel, M Magazine, January, 2009, Björn Ressle Winter Salon. (Review of group exhibition Bradshaw last page)
Blog: Fallon, Roberta and Libby Rosoff, June 2008, review, fallonandrosof.blogspot.com. (Quick Constructions, Larry Becker Contemporary Art, Philadelphia, PA)
Johnson, Ken, The New York Times, Art & Design, Jan 1, 2008, Hunting a Tribe of Minimalists on the Streets of the Upper East Side. (Review of ONE)
Strauss, R.B., roundphilly.com, June 11, 2008, Art: Radio Rocks. (Radio Rocks, Larry Becker Contemporary Art, Philadelphia, PA, 2008, review)
Strauss, R.B., roundphilly.com, June 4, 2008, Art: Radio Rocks. (Radio Rocks, Larry Becker Contemporary Art, Philadelphia, PA, 2008, review)
Nurin, Tara, Philadelphia Weekly, June 5, 2008, Radio Rocks. (Radio Rocks, Larry Becker Contemporary Art, Philadelphia, PA, 2008, review)
Newhall, Edith, The Philadelphia Inquirer, Weekend, May 30, 2008, Channeling Sounds from Earth and Far Beyond. (Radio Rocks, Larry Becker Contemporary Art, Philadelphia, PA, 2008 Radio Rocks and Quick Constructions, review)
Castro, Jan, Sculpture Magazine, April, 2008, Dove Bradshaw, Björn Ressle Fine Art, New York. (Contingency, Waterstone, Crack in the Air, Series II, Nothing 2, Quick Construction: includes The Missing Peace, Artists and the Dalai Lama, Rubin Museum of Art, New York, 2007)
Schuster, Robert, The Village Voice, 2007, The Icon's Icon. (salt, half heard, The Missing Peace, Rubin Museum of Art, New York
Bellel, Zeva, Luxury Culture, On-line magazine, April 19, 2007,  Dove Bradshaw: Contingency Paintings and Works on Paper, (Dove Bradshaw: Contingency, Bjorn Ressle Fine Art, New York,Contingency, Waterstone, Crack in the Air, Series II, Nothing 2, Quick Construction, reproduction and review)
Bellel, Zeva, Luxury Culture, On-line magazine, April 10, 2007, If I had to name one contemporary artist...Shu Uemura, Beyond Beauty. ("If I had to name the contemporary artist whose work I admire most these days it would probably be Dove Bradshaw," Shu Uemura, [Six Continents] reproduction and article)
Vine, Richard, Art in America, January 2007, The Gwanju Bienale, Report From Gwangju, Gwangju Biennale. (Six Continents, reproduction and review)
Fressola, Michael J., Staten Island Sunday Advance, Arts & Ideas, July 16, 2006, E, White Gold, Salt Goes Beyond The Shaker at the Noble Maritime Collection. (Eurasia, reproduction and review)
Donahue, Victoria, The Philadelphia Inquirer, Sunday September 24th, 2006, Works That Get Back To Nature. (Elements, Self Interest, 1998,Herslef In the Element, 2004, O Dress, 2008, a four person group exhibition at the Abington Center)
De Tan, S. A,. Coagla Art Journal, Issue number # 78, February 2006, DOVE BRADSHAW , 6 VOLCANOES AND THE WHOLE WIDE WORLD IN A DROP OF WATER. (Six Continents, reproduction and review)
Knight, Christopher, The Los Angeles Times, October 28, 2005, Around The Galleries, Fresh, original voices in LA: Six Continents. (Reproduction and review)
Frank, Peter, La Weekly, November 11-17, 2005, A Pick of the Week: Dove Bradshaw. (Six Continents, photograph and review)
Zlotnick, Diana, NOTA, Newsletter On the Arts,October, 2005, Salt of the Earth. (Six Continents, photograph and review)
Dea, Cynthia, Los Angeles Times, Calendar Weekend, Galleries, October 26, 2005, Thursday, Pure Salt of the Earth. (Six Continents, photograph and review)
Sozanski, Edward J, Philadelphia Inquirer, Weekend Art/ Museums and Galleries, July 1, 2005, p. W 24, Salted Sculptures. (Six Continents and Angles at Larry Becker Contemporary Art, review)

Yazdani, Mehrdad, The Guardian, University of California at San Diego, 2005, Art Inspired by Accident. (Anastasi Bradshaw Cage Cunningham, photograph and review)

Latter, Ruth, The Daily Progress, Charlottesville, VA, February 17th, 2005, p. D2, Concept Was Innovative, Then and Now. (Anastasi Bradshaw Cage Cunningham at University Art Museum, University of Virginia, reproduction and review)

Morgan, Anne Barclay, Sculpture Magazine, September 2004, p. 48, Buddhism and Contemporary Sculpture The Manifestation of Awareness. (Negative Ions II, review)

Koplos, Janet, Art In America, May 2004, pp. 150-51, Between Science and Poetry. (Reproduction and article on mid-career exhibition at City College, NY)
Unknown, Rice Sallyport, Fall 2004, p. 41, Booknotes, Rice University, Houston, Texas. (The Art of Dove Bradshaw, Nature Change and Indeterminacy, Thomas McEvilley, Rice University, Houston, Texas)
Peterson, Debra, The St. Louis Post—Dispatch, March 22, 2004. ('O' Dress for the St Louis Museum Dada Ball, review)
McElroy, Joseph, Shambahala Sun, March 2004, p. 65, A Poetry of Transience, reflection on the works in “The Invisible Thread: Buddhist Spirit in Contemporary Art. (Exhibition at the Snug Harbor Cultural Center Staten Island, (Negative Ions II, review)
Fressola, Michael, The Staten Island Sunday Advance, February 15th, 2004, Noted Poet to Appear at Benefit. (Negative Ions II, Invisible Thread, SI, NY, review)
Kamiaru, Staten Island Source, 2004, cover story and pp. 8-14. (Negative Ions II at The Invisible Thread, review)
Fressola, Michael, The Staten Island Sunday Advance, October 5, 2003, Good Buzz, No Yoko at Art Opening. (Negative Ions II at The Invisible Thread, review)
Fressola, Michael, Staten Island Advance, February 26th, 2003, cover and p. E 2. (Negative Ions II at The Invisible Thread, photograph and text)
Krall, L.Brandon, New York Arts, January 2003, p. 25, Celebrate John Cage. (Memorial concert, installation and performance of Infinity at Garry Tatinsian Gallery, NY, article)
Ruivo, Ana, Expresso, Lisbon, July 19th, 2003, Dove Bradshaw: Angles. (Angles at Diferenca, Lisbon, review)
Bradshaw, Dove, New Observations, Spring/Summer 2001, The Cultural Traveler’s Guide, New York, Vol. 128, p.35, Dove Bradshaw: Indeterminacy Film. (Project: Indeterminacy [film] still and artist's text)
Newhall, Edith, New York, Chelsea Exhibitions, March 26th, 2001, Waterstones by Dove Bradshaw. (Waterstones at Stark Gallery, NY, reproduction and review)
Hornung, Peter Michael, Politiken, January 13, 2001, Art without Intentions. (Anastasi Bradshaw Cage at Museum of Contemporary Art Museum, Roskilde, Denmark, reproduction and review)
Sandbye, Mette, Berlingske Weenendavisen, January 12-18, 2001, The Music of Chance. (Anastasi Bradshaw Cage, Museum of Contemporary Art, Roskilde, Denmark, review)
Sozanski, Edward J., The Philadelphia Inquirer, April 28, 2000, Environmental Expressionism. (Waterstones at Larry Becker Contemporary Art, Philadelphia, review)
Unknown Politiken, June 18, 1999, Guilty Marks. (Guilty Marks at Stalke Gallery, Copenhagen)
Winn, Alice, Pittsburgh City Paper, June 16-23, 1999, Art Takes Flight on the Wings of Dove Bradshaw. (Negative Ions I and 2/0 at Mattress Factory Museum, Pittsburgh, reproduction and review)
Lieberman, Claire, Sculpture Magazine, February 1999, p.30, Stone: Mystery or Malaise. (Indeterminacy [stones] at Sandra Gering, NY, reproduction and review)
Chattopadhyay, Collete, Sculpture Magazine, January-February, 1999, pp. 59-61, Dove Bradshaw at LA MOCA. (Reproduction and review)
McDonough, Tom, Art In America, November, 1998, Dove Bradshaw at Sandra Gering and Linda Kirkland. (Negative Ions I and Contingency Pours [Silver Sheets] and Indeterminacy X-XIV, reproduction and review)
Cahill, Timothy, Albany Times Union, October 4, 1998, Where Art Meets Science: Union College exhibit takes a look at the culture of science. (Negative Ions I, Into Focus: Art on Science, reproduction and review)
Klein, Adrienne, Into Focus, Mandeville Gallery, Union College, Schenectady, New York, 1998, Art /Science. (Negative Ions I reproduction and review)
Wright, Peg Churchill, Daily Gazette, September 10, 1998, Exhibition At Union College Brings Science Into Focus. (Negative Ions I, reproduction and review)
Unknown, Politiken, Copenhagen, June 18, 1998, Forgaengelighed, Dove Bradshaw, Guilty Marks at Stalke Gallery. (Reproduction and review)
Frank, Peter, Art Picks of the Week, October 16-22, 1998, Dove Bradshaw /Jan Henley, Eileen Cowen. (Contingency and Indeterminacy at Dove Bradshaw / Jan Henle, LAMOCA, review)
Swed, Mark, The Contemporary, Summer Publication, 1998, Dove Bradshaw / Jan Henle. (Museum of Contemporary Art, Los Angeles, reproduction and article)
Wilson, William, Los Angeles Times, August 24, 1998, p. f 29, Probing the Nature of Contemporary Art. (Dove Bradshaw /Jan Henle, LAMOCA, review)
Unknown, New York Contemporary Art Report, Vol. I, Issue II, June 1998, Dove Bradshaw. (Irrational Numbers at Sandra Gering and Linda Kirkland, reproductions and article)
Johnson, Ken, The New York Times, Art Guide, June 19, 1998, Dove Bradshaw. (Irrational Numbers at Sandra Gering and Linda Kirkland, reviews)
Cohen, Mark Daniel, Review, June 15, 1998, Acts of Will? Dove Bradshaw’s Irrational Numbers at Sandra Gering. (Review)
Brody, Jacquiline, Art on Paper, September-October 1998, Dove Bradshaw: 2v0. (Introducing New Multiples, reproduction and review)
Kramer, Hilton, New York Observer, January 27, 1997, Three (sic) Independent Collectors Undercut Whitney Idiocy. (Charles Carpenter Collection, review)
Brody, Jacqueline, On Paper, March-April, 1997, Vol. 1, No.4, Dove Bradshaw, Zn + S + CH3OOH. (Introducing New Multiples, review and reproduction)
Nigrosh, Leon, The Worcester Phoenix, October 3, 1997, Art in Good Time: From Time to Time. (Contingency Paintings and Book, review and reproduction)
Tracy, Chris, The Crusader, The College of Holy Cross, September 27, 1997, From Time to Time. (Contingency and Zn + S + CH3OOH, reproduction and review)
Morgan, Anne Barclay, ARTNews, February, 1996, p.136, Dove Bradshaw at Sandra Gering. (Indeterminacy, reproduction and review)
McEvilley, Thomas ARTForum, April, 1995, Rolywholyover, A (sic) Circus, The Menil Collection. (Contingency, review)
Newhall, Edith, New York, November 6, 1995, Indeterminacy. (Indeterminacy [stones] at Sandra Gering, reproduction and review)
Handy, Ellen, Photography Quarterly, Summer 1995, pp. 3, 6-7, Time, Memory & the Limits of Photography, The Center for Photography Woodstock, Woodstock, New York. (Plain Air, reproductions and article)
McLean, Duncan, Scottish Press, September 17th, 1995, Change and Decay. (Indeterminacy, Contingency and other works at Pier Arts Center, review)
Myers, George Jr.,The Columbus Dispatch, March 5, 1995, Will Mighty Met Ever Put Out This Fire?. (Performance [Fire Hose], reproduction and article)
Stapen, Nancy, The Boston Globe, December 27, 1993, 90s Drawing: Beyond Pushing Pencils. (Crack In The Air at Katonah Museum of Art, review)
Upshaw, Reagan, Art In America, November 1993, p.122, Dove Bradshaw at Sandra Gering. (Contingency, reproduction and review)
Knight, Christopher, Los Angeles Times, 1993, Cage’s Circus, A Three-Ring Sensual Blast. (Rolywholyover Circus at MOCA, LA, review of Contingency and Boundary)
Pinchbeck, Daniel, Art and Antiques, March, 1993, Openings. (Contingency at Sandra Gering, NY, reproduction and review)
Yood, James, New Art Examiner, January 1992, page 5, Review 51st Carnegie International. (Cage Presentation: Bradshaw, Cage, Kenton, Skinner)
McEvilley, Thomas, ArtForum, October, 1992, In the Form of a Thistle. (John Cage In Memoriam, Contingency)
Raynor, Vivian, The New York Times, July 5, 1992, Memorable Images In An Anthology of Drawings. (Crack In The Air [thorn] at Katonah Museum, Katonah, NY, review)
Russell, John, The New York Times, June 28, 1992, The Secret Life of Art is Led in Drawings. (Full and Crack In The Air [thorn], review)
Brody, Jacqueline, Print Collectors Newsletter, Vol. XXIII, No. 4, September-October, 1992, Dove Bradshaw: Medium. (Introducing new prints, reproduction and review)
Unknown, The Downtown Resident, Vol.1, Number 3, May 11, 1992. (Plain Air at Sandra Gering, cover reproduction and review)
Unknown, Artscribe, September 1991, p. 1, New York Diary: Almost Twent-Five Different Things. (Plain Air at PS 1, review)
Quaroni, Grazia, Marie Claire, October 1991, p. 123, Le Donne dell’ Arte. (Gallerists and Their Artists reproduction and article, Gering/Bradshaw)
Atchler, Bruce, Art In America, 1991, ...imitating nature in her manner of operation...: Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, Toby at Sandra Gering Gallery. (Artist curator and Contingency and Carbon Removals, review)
Morgan, Robert C., Arts Magazine, October, 1991, p. 81, New York Diary. (Plain Air at PS 1, NY, review)
McEvilley, Thomas, ARTForum, April 1990, p. 175, Plain Air. (Plain Air at Sandra Gering, reproduction and review)
McCoy, Pat, The Mattress Factory, Saturday June 9, 1990, Plain Air. (Interview and reproductionsof Plain Air)
Rose, Matthew, Art and Antiques, January 1990, Bird Land. (Plain Air at Sandra Gering, NY, review)
Unknown, Observer-Dispatch, Monday, September 5, 1988, Bradshaw Works Show Two Years of Experiments. (Children’s Drawings at Utica College, Syracuse University, reproduction and review)
Unknown, Utica College Tangerine, Friday, September 16, 1988, Gallery Graced by Bradshaw Oils. (Children’s Drawings, reproduction and review)
Durner, Leah, Stalke Gallery, 1988, Dove Bradshaw. (Children’s Drawings at Stalke Gallery, Copenhagen, review)
Schwartz, Eugene, Bottom Line, pp. 9-10, October, 1983, Guerrilla Tactics for Collectors in Today’s Emerging Art Market. (Recommendations: 10 Art Greats To Be)
Frank, Peter, Art News, February 1981, p.174, Carbon Removals. (Ericson Gallery, NY, review)
Stern, Ellen, New York Magazine, June 2, 1979, p. 53, Best Bets: Shooting Spray. (Spent Bullets at Aaron Faber, NY, reproduction and review)
Bradshaw, Dove, New York Magazine, February 18, 1979, p. l7, Sister, Can you Spare a Smile?. (50 % Better, New York Subway Performance, reproductions and article)
Black, Star, United Press International, NXPL1982351, First of Six, October 10, 1979. (Break to Activate at PS 1, NY, reproduction and review)
Little, Stuart, New York Magazine, February 5, 1979, p. 11, A Piece of the Met. (Performance, reproduction and review)
Battcock, Gregory, Arts/ Entertainment, February, 1978, De Kooning Bombs at the Goo Goo: Rhoades, Anastasi and Bradshaw discuss Couture. (Artist photograph and commentary)
Nelson, Judith, The New Yorker, Goings on About Town, 1977, p. 12,  following week p. 13, Dove Bradshaw. (Chairs at Razor Gallery, NY, review)
Ellensweig, Allen, Craft Horizons, June 1977, New Talent, Dove Bradshaw.. (Chairs at Razor Gallery, NY, reproduction and review)
Unknown, The Soho News, Art Openings, April 7, 1977, p. 32, Dove Bradshaw. (Chairs at Razor Gallery, NY, reproduction and review)
Grover, Donald, Craft Horizons, June, 1975, p. 20, Exhibitions, Dove Bradshaw. (Chairs at Alan Stone, NY, review)
Unknown, The New Yorker, Goings on About Town, 1975, Dove Bradshaw. (Reliquaries at Razor Gallery, NY, review)
Gruen, John, The Soho Weekley News, January 30, 1975, p. 10, Five to See in Soho. (Reliquaries at Razor Gallery, NY, reproduction and review)
Cabanne, Pierre, The Harvard Advocate, 1972, p. 38, Dialogues With Duchamp. (Illustration, Plain Air, 1969)

 

 

QUOTES

The work of Dove Bradshaw works with our changing conceptions of time and space which we have assumed for a long time are two different things. She’s involved, as we are in our lives, because of art, with an almost scientific procedure, so that she can experiment in such a way as to prove something. And she can subject us to the results of her experiments which can open us to the life we are living…


It’s quite amazing. The fact that [her work] changes requires a change for me; it requires a change of attitude. If I so to speak change with it, then I can change with the world that I’m living in, which is doing the same thing.

We’re confronting now it seems to me in the very full way that her work is itself working—the identity, not the separateness, but the identity of time and space.


…Dove has introduced time into space, and our living is in that confusion.

The things that happen in her work are, so to speak, full of not her determination but its determination, such as chemical change, or gravity. She used the word event: whereas she’s interested in an undefined freedom of action for the chemistry. Of not doing anything.

…what we find in Dove’s work is constant experimentation with things to see what happens when you do that.

…Marcel Duchamp said, speaking of Utopia, that we won’t be able to reach it till we give up the notion of possession. And this work of Dove’s confronts possession completely…I was impressed by the difference between Rauschenberg’s empty white canvases [The White Paintings]…and the monochromatic white works that Dove has recently made, which if you touch them…the pigment comes off. Not only is it nature in transition from within, but we can move it, remove it by contact. That’s not exactly the same as those years ago, also beautiful works of Rauschenberg.

And the difference is the difference between then and now. That then became beautiful for me by receiving dust. This now equally whiteness and emptiness is willing to give itself and to change itself, and without losing itself. So that then becomes a model for daily behavior because it is anti-possession.

* * *

Dove’s work is preparing us for a constant loss and a constant gain, and also of not knowing whether it’s good or bad.

John Cage
John Cage and Thomas McEvilley
In Conversation, 1992
from Dove Bradshaw: Works 1969-1993, Sandra Gering Gallery, New York, 1993

 

The mix of mind and matter in Dove Bradshaw’s work is constantly surprising and rewarding.

Edward Albee
Fulbright recommendation, 2001

Dove Bradshaw's work is always provocative in the sense that it accomplishes one of art's primary functionsmaking us reconsider the boundaries and definitions of art.

Edward Albee
Dove Bradshaw, Nature Change and Indeterminacy,
Batty LLC, New York, NJ, 2003

 

 

“…[Bradshaw’s] work shows us that both art and life are inherently unstable, in thrall to time.

Lily Wei
Art In America, 2015

 

 

AWESOME!

Hard to think of anyone else’s works better suited to that context and relationship. [Noguchi Museum exhibition of Museum of Stones, five outdoor works placed in the garden along with Noguchi's sculptures]

Michael Straus
Collector and curator, Whitney Museum Drawings Board, Andy Warhol Museum Board
, 2015

 

 

[Bradshaw’s] work can be seen as balanced at that line where you’re seeking for that other sense of intention which is in nature, without completely loosing your grip on culture, or that very circumscribed trap of limited intention which is history. So in terms of [John Cage’s] remark about getting out of whatever cage you are in, Dove’s work is about hovering at the door of that cage maybe you’re not sure which way to go?

  *   *   *

There’s that moment when it’s almost like there’s a choice between form and void, and yet we can’t make the choice; we have to somehow have both. And this is that kind of perilous tightrope edge that I see Dove’s work walking.

*  *  *

…In relation to the much earlier works, the eggshell works from 1969. First there was the broken eggshell in bronze, then later in silver, then in 1988, the ones in gold…It stands at the beginning, like a matrix out of which Dove’s oeuvre unfolds. So, like the changing paintings, it has to do with going through the veil between form and non-form. The broken eggshell is there like the record of a transit, a crossing of that border. It has also struck me that the distinction you’ve brought up is like the Buddhist ideas that form is emptiness and emptiness is form. It reminds me too of something that I’ve read where you talked about the possibility of there being nothing. And I took that phrase in two ways. And I took that phrase in two ways. First there’s the possibility of nothing, meaning it's possible that there would be nothing; then there's the possibility of nothing, meaning the world of potentiality comes out of nothing. And the egg piece to me seems to suggest all of that…

Thomas McEvilley
John Cage and Thomas McEvilley
In Conversation, 1992 from Dove Bradshaw: Works 1969-1993
                                                                                                          

 

Bradshaw seems to have found an enduring mode of indeterminacy beyond Cage’s idea of the event that remains indeterminate until it happens. The flux produced by chemical ferment in a Contingency painting never ends unless the painting itself is destroyed…It will continue to document the process of change in the face of all certainties.

Thomas McEvilley
Dove Bradshaw, Nature Change and Indeterminacy, Batty LLC, New York, NJ, 2003

 

 

 

Dove Bradshaw’s work exists at the interstices of time, magic, alchemy, and natural materials...Three large paintings in the show revealed how dramatically this acid can create expressive landscapes. Contingency Pour takes Pollock’s drip painting technique to the next level; the liver of sulfur not only makes marks on the silver, it also continues to interact.  

Jan Garden Castro
Sculpture Magazine, 2008

 

Dove Bradshaw’s 2013 painting, Contingency (Snow Tracks), shows a really concrete, absolute way to think about color’s use in art. Bradshaw made the painting by applying liver of sulfur to a silver-coated canvas (the former substance reacts to patinate the latter). Her technique here and in other works uses chance-based methods — developed by Johns’s friends Robert Rauschenberg, Merce Cunningham and John Cage — in order to create images rooted in the precise relationship of one chemical to another. There’s nothing more factual than that. It’s not morose or bright, just true.

 

Noah Dillon
Artcritical, 2015
http://www.artcritical.com/2015/08/10/noah-dillon-gray-marc-straus/#sthash.BbOcBkVh.dpuf

 

Referring to the clock and level: Though an instrument without a purpose, its shape, like an eight layed sideway, makes it a material infinity sign. As such, an instrument of measure that points to the immeasurable, it is emblematic of Bradshaw’s work.

David Frankel
IMAGES, Dove Bradshaw, New York, 2011

 

[Bradshaw’s] attraction to the truth of indeterminacy is equal to [her] suspicion of the absolute, of anything that attempts to fix meaning or to set a standard. She values the evolving dimension of each present moment and the stillness required to notice it.

Regina Coppola
University of Massachusetts, Amherst, MA, 1999

 

 

Always get a serious vibe from your work -- it has that earth magic virtually no one else has the way you do.

George Quasha
Artist

 

 

Bradshaw’s plane of tarnishing silver does turn out to be a kind of a mirror, despite its lack of polish, its refusal of clear and literal reflection. Videmus nunc per speculum in aenigmate…We see through a darkened mirror.

Barry Schwabsky
Pier Arts Center, Orkney, 1995


…A romantic Conceptualist who practices natural alchemy.

Ken Johnson
Negative Ions: New York Times, 1998

 

Attracted by her use of indeterminacy, the practice of using chance and natural forces to act upon her work, Cunningham invited Dove Bradshaw, along with William Anastasi, to become joint artistic advisors to his dance company in 1984. The resonances between Bradshaw’s work and that of Cunningham’s are clear; both made extensive use of chance procedures as part of their creation. Bradshaw’s Contingency Series abandons traditional artistic practices and uses materials that react differently depending on environmental conditions, just as Cunningham abandons not only musical forms, but narrative and other conventional elements of dance composition—such as cause and effect, and climax and anticlimax.

Stephen Jones
Christies Spring Catalogue, 2011

                                                                                                                                                                                                                       

Some Conceptual art embraces depth and works on a number of levels—including the visual. Dove Bradshaw’s...Contingency Jets, made of silver, liver of sulfur, and beeswax applied to paper, are both compelling abstracts, rich in detail. But Bradshaw, a major innovator herself in artistic techniques for the past thirty-five years, is not content merely to present intriguing forms that repay even microscopic examination. No; we are also witnessing a chemical reaction in flagrante, a progressive devouring of the silver by the sulfur, leaving a residue of flakey white micro-crystals that form into tiny knobs. The artwork is changing, albeit very slowly, before our eyes, altering its shape, its composition, its texture (does it have an expiration date?) So Bradshaw has framed a slow dynamism, which for now looks like the silhouette of a water bear (tardigrade). It’s intriguing looking work, backed by an exciting concept.

Joel Simpson
M Magazine, 2009

 

Bradshaw pushes us, in a salutary fashion, beyond the conventional gallery experience.

Tom McDonough
Art in America, 1998

 

Since Bradshaw’s pieces are never final but will continue to change, how could a particular work be invalid? It can only be found more or less attractive at a particular moment. It’s a more Oriental esthetic philosophy than we are used to; risky, by Western standards, yet it produces beautiful results.

Reagan Upshaw
Art in America, 199
3

 

Dove Bradshaw…has a distinct individual voice…most of the works here are unfinished, and never will be finished. She likes to set a work in motion, then put it out into the world to continue under its own steam. Contingency I-V for instance, consists of five silver panels, treated with liver of sulfur...As the various substances react with each other and with the air, with the water in the air, and with the moisture in the breath of the spectators-patches, blotches, lines and dots bloom and scab across the surface of the metal.

Duncan McLean
Scottish Press, 1995


The best of the serious art follows Buddhism's tenet of stripping away the extraneous...And refreshing the conceptualism of the ubiquitous debris pile, Dove Bradshaw...has hung a slowly dripping glass funnel filled with water over a cone of Himalayan salt. An elegant visual balance and a concise metaphor for time, death, man versus nature, or just about anything else, it works as a kind of universal mantra.


Robert Shuster
The Village Voice, 2007

 

 

I have often felt the whirling vortex of life/death, creation/destruction in [Dove Bradshaw's] work from the time of [her] early porcelain chair pieces through the salt [works].


Elizabeth Flower, 2008

 

The first artist to influence Bradshaw was Duchamp, whose Bicycle Wheel she first saw at the Museum of Modern Art when she was 14. In 1969 while a student a the Boston Museum School of Art, Bradshaw hung a bicycle wheel sideways from the ceiling of her studio as a perch for two live doves that a friend had given her; she then put a Zen archery target on the floor directly beneath the wheel, simultaneously referencing herself, Duchamp, and Johns

Composer Cage, whom Bradshaw met in 1977 through her longtime partner, the conceptual artist William Anastasi, helped her further refine the concept of indeterminacy that would shape all her future art. Bradshaw also collaborated with Cage on productions for Merce Cunningham Dance Company. And like Rauschenberg, she has tried her hand at a few white paintings. Like Johns and Rauschenberg she served as Artistic Adviser to Merce Cunningham Dance along with William Anastasi from 1984 to the company’s demise in 2011.

The most perfect expression of Bradshaw’s ability to conjure change and indeterminacy in this show (COPPER SILVER FOOL 'S GOLD), though, is its earliest work, Without Title (1969), which comprises two tarnished silver casts of the halves of a broken eggshell. It brings to mind Duchamp’s erotic bronze (originally plaster) cast Feuilles de vigne femelle (Female Fig Leaf), Johns’s painted cast bronze Ale Cans (a play on Duchamp’s ready-mades), and the new life of a dove.

Edith Newhall,
The Philadelphia Inquirer, 2012

 

 
 

 

AWARDS

National Science Foundation for Writers and Artists, Washington, DC, 2006, Collection of Antarctic salt

Furthermore Grant for Dove Bradshaw: Nature Change and Indeterminacy, text Thomas McEvilley, and republication of A Conversation between John Cage and Thomas McEvilley about the work, Mark Batty Publisher, LLP, West New York, New Jersey, 2003

The New York State Council on the Arts Grant for Merce Cunningham Dance, 1987, Design and Lighting
The Pollock Krasner Award, 1985, Painting
The Nation Endowment of the Arts Award, 1975, Sculpture

 

LECTURES, PANELS & TEACHING

2015 The New York Academy of Art, Visiting critic for graduate students, December, 17th
  You Are: Three Evenings by William Anastasi, Narrators: Dove Bradshaw, artist, Emanuel Pimenta, composer, William Anastasi, artist/writer, Théâtre de l'usine, Geneva
2014 Tesla Radio Rock in Transmission/Frequency: Tesla and his Legacy, Colorado College, Colorado Springs
2013 Work in the Studio, Both years of the MFA program of Washington University, St Louis
2012 Still Conversing With Cage, JOHN CAGE Artist, JOHN CAGE Composer: Anatomy of the Convergence, Université Paris-Sorbonne, Paris
  Mentoring in NY, University of the Arts, Philadelphia, 2011-12
  Modernism, Dada and influence, for the University of Newcastle, Australia, video interview by Dr. Kit Messham-Muir
2011 How to Get Started by John Cage, Bradshaw contributed her 10 thoughts according to Cage's recipe, December 28, Slought Foundation, Philadelphia, PA: http://howtogetstarted.org/guest.php?id=1035
  SPACETIME, Optifonica Laboratory, Amsterdam
  Elements, Chemical Heritage Foundation, Philadelphia
2010 How To Get Started by John Cage, performed 10 thoughts, Slought Foundation, Philadelphia, Pennsylvania
  Savanah Collage of Art and Design, Atlanta, Georgia   
2009 Indeterminacy, Museum of Modern Art, New York
2008 Time Matters, Sothebys Institute, New York
  Time Matters, Pierre Menard Gallery, Cambridge, Massachusettes
  Time Matters, University of Pennsylvania, Philadelphia, Pennsylvania
  ONE More, Dedicated to Sol LeWitt, Esbjerg Museum of Modern Art, Esbjerg, Denmark, gallery talk
2007 Pont-Aven School of Contemporary Art, France, teaching and resident artist
  Constructions, The Spirit of Discovery II, Trancoso, Portugal, Convento dos Frades, gallery talk
  Salt, Half Heard, The Missing Peace, Artist’s and the Dalai Lama, Rubin Museum of Art, New York
2005 Anastasi Bradshaw Cage Cunningham; Friendship and Collaboration, Opening of Anastasi Bradshaw Cage Cunningham, The University Art Gallery, The University of California at San Diego, La Jolla, CA, gallery talk

2004

Anastasi Bradshaw Cage Cunningham; A Conversation, Opening of Anastasi Bradshaw Cage Cunningham, The Bayly Art Museum, The University of Virginia, Charlottesville, VA, gallery talk

2003 The Invisible Thread: Buddhist Spirit in Contemporary Art, Panel: Dove Bradshaw, Alex Gray, Tri Huu Luu, Pat Steir, Moderator: Lilly Wei
  Dove Bradshaw: Formformlessness, Mid-career exhibition Baruch College, City University of New York, gallery talk
2001 jottings, thoughts surroundings working now, 1969-2001, Diferenca Gallery, Lisbon, Portugal, lecture
  The Legacy of John Cage, Speakers, William Anastasi, Dove Bradshaw, Carol Hamilton, Associate Professor of English, Carnegie Mellon University, Michael Olijnyk, moderator, The Mattress Factory Museum, Pittsburgh
2000 Formformlessness, Sirius Art Center, Cobh Ireland, lecture
1999 Test Sample, Sidney Mishkin Gallery, Baruch College, New York, lecture
  Reckless Beauty, University of Massachusetts, Amherst, MA, lecture
  Indeterminacy [Stones], Whitney Museum Trustees + Friends, Whitney Museums, New York, lecture
1998 Works, Museum of Contemporary Art, Los Angeles, lecture
  Workshop Building Future Audiences - Classes with the Second Grade of a local school in a less advantaged neighborhood under the auspices of The Museum of Contemporary Art, Los Angeles
  Abstraction in Theater: Work with Merce Cunningham, The Institute of Fine Arts, New York, lecture
1995 Indeterminacy & Contingency, Pier Center, Orkney, Scotland, lecture
1994 School of Art and Design, Pratt Institute, lecture
1992 The Feminine in Abstract Art, Panel: Dove Bradshaw, Cora Cohen, Mary Heilman, Shirley Kaneda, Jonathan Laskar; Sandra Gering Gallery, New York, panel
1984 Works: 1969-1984, Edith Barrett Art Gallery, Syracuse University, Utica College, New York, lecture
1979-
1983
Glass Sculpture, The School of Visual Arts, New York, class
1978 Couples, Alanna Heiss, Moderator, PS1 Contemporary Art Center, LIC, New York, panel

 

VIDEO/DVD/ FILM

2014 Anastasi Bradshaw Cage Cunningham Rauschenberg Tobey, Strategies of Non-Intention, Artists in John Cage's Collection, film in conjuction with the exhibition of the same name, Sandra Gering Inc., New York
  Negative Ions II, music: Erik Satie, Vexations, DVD, 3'42" minutes, the artist executing this salt work; Jakob Holder, camera and post productio, on You Tube
2012 Performance Burned, music: Marcel Duchamp, Musique Sculpturales, interpreted by John Cage, DVD, 4'19" minutes, the artist burning her gorrilla and Metropolitan Museum of Art post card of a Metropolitan Museum fire hose; Jakob Holder, camera and postproduction, on You Tube
  Interview With Dove Bradshaw, artist, New York, July i, 2012, New York by Dr. Kit Messham-Muir, Studio Crasher
2011 SPACETIME, music: John Cage Ryoanji, 1983-1985, 23'22" minutes, the artist positioning her 1971 sculpture 2/0 vertically as a timer/horizontally as a level; Jokob Holder, camera and postproduction, You Tube
2008 Radio Rocks, DVD, Jakob Holder, camera and postproduction
2007

Dove Bradshaw, A Portrait by Robert Knafo, on You Tube

2005 Six Continents, Larry Becker Contemporary Art, photographed and interview by Jakob Holder, DVD
 

Anastasi Bradshaw Cage Cunningham Friendship and Collaboration, gallery talk and shot by the artist, William Anastasi: Sound Drawing, Evelina Domnitch and Dimitry Gelfand: musicians, sound and post production: CC Elian Studio, the University Art Gallery, University of Virginia at Charlottesville

2004 art is: Speaking Portraits (in the performative indicative) by George Quasha

2001

Elements, Stalke Gallery, Copenhagen, shot by the artist, DVD

  Anastasi Bradshaw Cage, The Museum of Contemporary Art, Roskilde, Denmark, shot by the artist, video
2000 Waterstones, Larry Becker Contemporary Art, Philadelphia, shot by the artist, video
1999 Guilty Marks, exhibition at Stalke Gallery, Copenhagen, shot by the artist, video
1998 Irrational Numbers, exhibition at Sandra Gering Gallery and Linda Kirkland Gallery, New York, shot by the artist, video
  Dove Bradshaw/Jan Henle, Museum of Contemporary Art, Los Angeles, shot by the artist, video
1995 Indeterminacy, exhibition at Sandra Gering Gallery, shot by Richard Sandler, video
1989 plain air, Sandra Gering Gallery, New York, shot by Suzanne Shaker, video

 

RESIDENCIES

2011 Niels Borch Jensen Printmaker, Copenhagen
2008 Niels Borch Jensen Printmaker, Copenhagen
2007 Pont-Aven School of Contemporary Art , France, teaching and resident artist
2005 Niels Borch Jensen Printmaker, Copenhagen
2003 Palazzo Durini, Bolognano, Italy
2000-1 Niels Borch Jensen Printmaker, Copenhagen
  Statens Vaerksteder for Kunst and Handvaerark, Gammeldok, Copenhagen, in conjunction with exhibitions: Elements, Stalke Gallery, Copenhagen and Anastasi Bradshaw Cage, Museum of Contemporary Art, Roskilde, Denmark
2000 The Sirius Art Center, Cobh Ireland, inaugerated outdoor sculpture court with placement of Notation II.
1995 The Pier Arts Center, Orkney, Scotland, accompanying the exhibition, Contingency, Passion, 1993 and Indeterminacy, 1995 situated in the permanent collection in the Pier Sculpture Court
   
TEACHING  
2012-2012 MA Mentor program for University of the Arts, Philadelphia, Pennsylvania
2007 Visiting Proffessor for graduate students Pont Aven School of Art, Pont Aven, France
1981-1984 School of Visual Arts, sculpture
EDUCATION  
1969-1975 The School of the Museum of Fine Arts, Boston/Tufts University, BFA and Fifth Year Competition
1967-1969 Boston University
   
   

SELECTED PUBLIC COLLECTIONS

Arkansas Arts Center, Arkansas
Art Science Research Laboratory, New York
The Art Institute of Chicago, Chicago
Birmingham Museum of Art, Alabama
Blanton Museum, Austin, Texas
Bowdoin College Museum of Art, Brunswick, Maine
Brooklyn Museum of Art, Brooklyn, New York
Carnegie Museum of Art, Pittsburgh
Cedar Rapids Museum of Art, Cedar Rapids, Iowa
Colby College Museum of Art, Waterville, Maine
Contemporary Museum, Honolulu, Hawaii
Davis Museum, Wellesley College, Wellesley, Massachusetts
Fields Sculpture Park at Art OMI International Arts Center, Gent, New York
Fogg Art Museum, Harvard University, Cambridge
The Getty Center, Santa Monica, California
Laurel House, Stamford, CT
LeWitt Collection, Chester, CT
The Mattress Factory Museum, Pittsburgh, Pennsylvania
Merce Cunningham Foundation, New York
Metropolitan Museum of Art, New York
The Museum of Contemporary Art, Los Angeles
The Museum of Modern Art, New York
National Gallery of Art, Washington, DC
The New School for Social Research, New York
The Phillips Collection, Washington, DC
Prudential Insurance Company, New Jersey
Rubin Museum of Art, New York
The San Francisco Museum of Modern Art
Sony Capitol Corporation, New York
Syracuse University, Utica, New York
Tufts University, Medford, Massachusetts
Walker Art Center, Minneapoli, Minnesota
Weatherspoon Art Museum, Greensboro, North Carolina
Whitney Museum of American Art, New York
 
Foreign Museums
The American College of Greece, Athens, Greece
The British Museum, London
Centre Pompidou, Paris
Esbjerg Museum of Modern Art, Esbjerg, Denmark
Ingreja do Convento de Santo António, Trancoso, Portugal
Kunstmuseum Dusseldorf
Louisiana Museum of Modern Art, Humlebaek, Denmark
Moderna Museet, Stockholm
Muestra International De Arte Grafico, Bilbao, Spain
Museum of Contemporary Art, Roskilde, Denmark
Pier Centre, Orkney, Scotland
Sirius Art Center, Cobh, Ireland
The State Russian Museum, Marble Palace, St. Petersburg, Russia
 

SELECTED PRIVATE COLLECTIONS

Edward Albee, New York
Carl Andre and Melissa Kretschmer, New York
Estate of John Cage, New York
Estate of Merce Cunningham
Estate of Charles Carpenter, New Canaan, Connecticut
Barbara Castelli and Estate of Leo Castelli, New York
Jean-Christophe Castelli, New York
Dan Fawcett, Santa Monica, California
Susan and Leonard Feinstein, New York
Dr.and Mrs. Josef Geldwert, New York
Sandra Gering, New York
Angela Gilchrist, Redding, PA
Robert Gordon, New York
Richard Harris, Chicago
Alanna Heiss and Fred Sherman, New York
Carol Janis, New York
Rosalind Jacobs, New York
Jasper Johns, St. Martins, Caribbean and Sharon, Connecticut
Constance Kaplan, New York
Susan and Robert Klein, New York
Sally and Werner H. Kramarsky, New York
Andrea Krantz and Harvey Sawikin, New York
Sherry and Joel Mallin, New York
Christophe Mao and John Tancock, New York and Salt Point, Connecticut
Douglas F. Maxwell, New York
Thomas McEvilley, New York
Christophe de Menil, New York
Helen Reavis and Stephen Engels, New York
Barbara Schwartz, New York
Sidney Shapiro, New York
Mr. and Mrs. Charles Shenk, Columbus, Ohio
Dr. Lois Sobel, New York
Michael Solway and Angela Jones, Cincinnati
Estate of Jerry and Emily Spiegel, New York
Michael Straus, New York and Birmingham, Alabama
Charles F. Stuckey, New York
Amée and Mark Swed, Santa Monica, California
Mr. and Mrs. Jon Weaver, Michigan
Gina and Dexter Williams, Los Angeles
Estate of Beatrice Wood, Ojai, California
 
Foreign
Marc Almond, Soft Sell, London
Massimo Arioli, Rome
Evelina Domnitch and Dimitry Gelfand, Amsterdam
Estate of Madame Marcel Duchamp, Villiers Sous Grez, France
Baronessa Lucrezia De Domizio Durini, Bolognano, Paris, Seychelles
Jacqueline and Estate of Daniel Charles, Antibes
Renyi Chen, Taiwen
Alberto Del Genio, Naples
Ursula Hodel, Zurich
Bertell Jarborff, Copenhagen
Sam Jedig, Kirke-Sonnerup, Denmark
Lance Lindabury, Cairo
Mrs. Hyun Sook Lee, Seoul
Reyn Van Der Lught, Amsterdam
Antonio dalle Nogare Collection, Bolzano, Italy
Sam and Judith Pisar, Paris
Luciana and Emanuel Dimas de Melo Pimenta, Lisbon
Ilse and Flemming Rohde Nielsen, Copenhagen
Inger Tornberg and Estate of Anders Tornberg, Lund, Sweden
Miyuki Sugaya and Toshiyki Nemoto, Tokyo
Estate of Shu Uemura, Tokyo
Joni Waka, Tokyo