F I L M     &     D V D S
P H O T O G R A P H Y    &    P R I N T S

F I L M     &     D V D S

FINISH, 1995

Indeterminacy [film], 1995

Six Continents, 2005

SPACETIME, 2011

Performance Burned, 2012

 

P H O T O G R A P H Y     &     P R I N T S   

f o l l o w i n g

 

 

 

     

 

P H O T O G R A P H Y     &     P R I N T S

 

IMAGES 1972 - 2012 PDF Catalogue

Dove Bradshaw has an abiding attraction to contradiction. She has consistently made artworks that counterpose opposites in such a way as to make them point somewhere else. This portfolio is a case in point: most images are photographic in source, works that can only exist in that form; others began as sculptures or performance but are realized so finely that they are something other than records. Bradshaw describes herself as “not a photographer engaged with the mechanics of the camera or the darkroom,” though it is a rare artist who would find himself making Daguerreotypes, or figuring ways to transfer the qualities of those images into photogravures, large format film or inkjet prints.

David Frankel, Editor Museum of Modern Art, New York
For the complete essay see above

 

 

 

 

 

 

FINISH, 1995
.5 sec of 16 mm film, .689 diameter double convex magnifying glass,
plexiglass box, 3 ½ x ¾ x ½ inches

 

Indeterminacy [film], 1995
16 mm film, 27 minutes, silent, next image 4 minutes later
Part I: Record of liver of sulfur dissolving in water: above; right: close-up four minutes later
Part II: 2/0 [artist's 1971 clock and level sculpture] filmed vertically as a timer; horizontally as a level
Part III: Metaphor of film: the sun (the projector lamp) reflects onto a stream (the subject) projected onto the wall of a cave (the screening room)

         

SPACETIME, 2011
DVD, 23.22 minutes
Music: John Cage: Ryoanji, 1983-5
Premiere: Thomas Rehbein Gallery, Cologne, 2011
Screening: Optiphonica Laboratory, Amsterdam, 2011
Paris Conservatoire Regional Superior, Madrid Street, with live accompaniment, 2012

“We’re confronting now it seems to me in the very full way that [Bradshaw's] work is itself working—the identity, not the separateness, but the identity of time and space…” John Cage, July 1992

The title was derived from this remark. The subject is the1971 sculpture, 2√0, designed to have alternate presentations. Situated vertically it is a clock; set horizontally it is a level. This duality lead to engaging John Cage’s Ryoanji, a duet for a percussion and another instrument determined by the performer—here an octobass flute and a timpani. Cage gave his recording to Bradshaw when it was released.

Second view: horizontal as a level

Paris Conservatoire Regional Superior, Madrid Street, Paris, 2012
SPACETIME, 2011
DVD, 23.22 minutes
Music: John Cage: Ryoanji, 1983-5
Performed by The Mesostics Ensemble

 

Performance Burned, 2012
DVD, 4'30"
Music: Musiques Sculpturale by Marcel Duchamp performed by John Cage

The artist burns her 1978 guerrilla and 1992 Metropolitan Museum postcards

       

Plain Air, 1969/1989
Installation: Sandra Gering Gallery,  New York, 1989
Edition of 4, self-published
Transparency, signed, dated, titled
11 ¼ x 17 inches
Collections: I, Ursula Hodel, Zurich; II, Mr. and Mrs. Leonard Feinstein, New York

 

 

Plain Air, 1969/1991
Silver gelatin print, 8 x 5 inches
Installation: Flight pigeon, bicycle
wheel and recreation of a Zen archer's target.
The Art Institute of Chicago

 

 

Plain Air, 1969/2005
Edition of 30, produced by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated and titled
17 7/8 x 21 inches

The artist photographed a pair of flight pigeons mating on a target in her 1991 installation of Plain Air at PS 1 Contemporary Art Center, New York. The installation recreates the 1969 original in which two mourning doves were released in the artist’s studio with a suspended 27 inch bicycle wheel. Respecting the larger museum space, the components were doubled in scale and number with a 48 inch bicycle wheel. The title is a pun.

 

2 √ 0, 2005
Edition of 36, produced by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated, titled
17 7/8 x 21 inches
One of the Edition, The British Museum, London

A 2004 Daguerreotype of the artist’s 1971 sculpture of glass and acetone was scanned and used to make this photogravure. The 6 x 2 ½ inch sculpture when horizontal performs as an unmarked level, when vertical as an unpredictable timepiece. The artist has referred to its variable nature as Pataphysical, Alfred Jarry’s science of the particular or of laws that govern exceptions. The title is a nonsense mathematical formula. 

 

2 √ 0, 2008
Edition of 36, published by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated, titled
17 7/8 x 21 inches
One of the Edition, Esberg Museumof Modern Art, Denmark

 

Performance, 1978
Silver gelatin print, 10 x 8 inches
Metropolitan Museum of Art, New York

The artist appropriated a standard fire hose in the Metropolitan Museum as her work by affixing a label next to it. She created a postcard slipping a stack at a time in the 20th Century racks amongst her peers. Becoming complicit, the museum sold it for years. The print was acquired in 1980, follwed by an official card twelve years later. In 2007 the hose itself came into the Museum’s permanent collection as a work of art.

 

 

Performance, 2003/2011
Edition of 36, published by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, 21 ½ x 18 ¼

All activity, the acquisition committee’s meetings and even a fire, should there be one, (she is careful to say that she would not start one) are all part of the “performance” she claims. For this print edition the artist burned a hole in each photogravure.

 

Performance Burned, 2003
Metropolitan Museum of Art, New York postcard, 6 x 4 ¼ inches each
Edition number 4/ 4, collection of the Metropolitan Museum of Art, New York

 

 

Medium, 1992
[Model: Victoria Finlaysen, Merce Cunningham dancer]
Edition of 12,originally published by Evans Editions, New York & Renaissance Press, New Hampshire
Photogravure on Somerset satin paper: 8 ¼ x 29 inches, signed, dated, titled
One of the edition: Merce Cunningham Foundation, New York
Another, Dr. Josef & Janice Geldwert, New York

2011 Negative film on plexiglas (above)
8 ½ x 34 ¾ inches


 

Double Negative, 1993
Edition of 12, Evans Editions, New York & Renaissance Press, New Hampshire               
Photogravure, signed, dated, titled
22 ¼ x 19 ¼  inches
Edition Number 2: collection of Barbara Schwartz, New York

 

KNCNOPOA, 2005
Edition of 36, published by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated, titled
28 x 21 ½ inches

KNCNOPOA, Russian for oxygen, is represented by the first letter placed sideways. Similar to the female version, the body elements follow in descending proportion by weight. Opposites were sought in the pairing of both images--male/female, husband/wife, Russian/English, East/West, front/back, image/text. The model is artist, Dmitry Gelfand.

 

Herself In the Element, 2002
Edition of 36, published by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated, titled
28 x 21 ¼ inches

The body elements are listed in descernding order by weight. Oxygen is represented by the letter "O" circling her neck. Opposites were sought in the pairing of both images-male/female, husband/wife, Russian/ English, East/West, front/back, image/text. The model is artist, Evelina Domnitch who is married to Dmitry Gelfand.

 

 

And so. And all., 2003                                                              
Self-published
Daguerreotype, signed, dated, titled
Silver over copper plate: 4 x 5 1/8 inches; housed in a leather bound case: 4 ¾ x 6 inches
Collection of Richard Harris, Chicago

 

They Were and Went, 2003
Edition of 36, self-published                                                   
Daguerreotype, signed, dated, titled
Silver over copper plate: 4 x 5 1/8 inches
Housed in a leather bound case: 4 ¾ x 6 inches
Collection of Richard Harris, Chicago

Photogravure 17 7/8 x 21 inches
Published by Stalke Gallery; printed by Niels Borch Jensen, Copenhagen
One of the edition: The British Museum

 

And so. And all., 2003                                                              
Edition of 4, self-published
Duraclear film, signed, dated, and titled
11 ¼ x 14 3/8 inches          
Frame designed by the artist 
Edition Number 3, Collection of Frank Williams, New York         

 

You Skull See, 2008
Edition of 36; 18 blue, 18 black
Published by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated, and titled
28 x 21 ½ inches

Originally photographed in 4 x 5 negative film in 2004: a self-portrait of the artist holding a skull to a mirror. The title comes from Finnegans Wake.

 

You Skull See, 2004/2008
Edition of 36, Renaissance Press, New Hampshire
Cyanotype, signed, dated, and titled
30 x 22 inches

 

Lightness of Being, 2008
Edition of 36, 18 blue, 18 black
Published by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated, and titled
28 x 21 ½ inches

Originally photographed in 4 x 5, 2004, a self-portrait of the artist
holding a skull seated on a 17th Chinese hunting chair in her collection.

 

I Am Myself Heaven & Hell, 2008
Edition of 36, Renaissance Press, New Hampshire
Silver gelatin print, signed, dated, and titled
19 x 13 inches

 

I Am Myself Heaven & Hell, 2008/2011
Edition of 36; 18 blue, 18 black
Published by Stalke Gallery
Printed by Niels Borch Jensen, Copenhagen
Photogravure, signed, dated, and titled
Image size: 13 x 10 inches; paper size: 21 ½ x 18 ¼ inches
Collections: Dr. Josef & Janice Geldwert, New York;
Dr. Henry Street, Laporte, PA; Dorothy La Fontaine, New York

 

I Am Myself Heaven & Hell, 2008
Edition of 36, self-published
Archival inkjet print, signed, dated, and titled
19 x 13 inches

 

I Am Myself Heaven & Hell, 2008
Edition of 36, self-published
Archival inkjet print, signed, dated, and titled
19 x 13 inches