A painting by Joe Bradley, titled Van Dongen, 2020 to 2022.

 (b. 1975) is widely recognized for his expansive visual practice that encompasses painting as well as sculpture and drawing. Over the past twenty years, Bradley has constantly reinvented his approach to his art, creating a distinctive body of work that has ranged from modular, minimalist-style paintings and sculptures; to rough-hewn, heavily worked surfaces featuring pictographic and abstract elements; to recent refined and layered compositions that, as critic Roberta Smith notes, “balance gracefully between representation and abstraction.”1 The artist has consistently explored the possibilities of certain formal elements—such as line and, above all, color—combining references that are art historical, cultural, and personal to create work that is characterized by a vivid interplay between the formally composed and considered, and the spontaneous and instinctive.

Bradley was born in Kittery, Maine, and received his BFA from the Rhode Island School of Design in 1999. He presently lives and works in New York.

The artist’s inaugural solo exhibition took place at Allston Skirt Gallery, Boston, in 2002. In 2006, Bradley’s first institutional solo exhibition opened at MoMA PS1, New York. The artist’s work has since been the subject of several international exhibitions. Notably, a mid-career survey of Bradley’s work was organized in 2017 by the Buffalo AKG Art Museum (formerly known as the Albright–Knox Art Gallery) in Buffalo, New York, which later traveled to the Rose Art Museum, Brandeis University, Waltham, Massachusetts. In the same year, the Fundación Almine y Bernard Ruiz-Picasso organized a presentation of Bradley’s sculptures at Pablo Picasso’s former home and studio at the Château de Boisgeloup, Gisors, France. A solo exhibition of Bradley’s work was presented at Le Consortium, Dijon, France, in 2014.

Significant group exhibitions including the artist’s work have been presented at the de la Cruz Collection, Miami (2019 and 2020); The Brant Foundation Art Study Center, Greenwich, Connecticut (2017 and 2018); Kunstmuseum Bonn, Germany (2015); The Museum of Modern Art, New York (2014); MoMA PS1, New York (2013); and Centro per l'arte contemporanea Luigi Pecci, Prato, Italy (2013); among others. In 2008, Bradley was selected to participate in the Whitney Biennial.

In April 2024, a solo exhibition of Bradley’s work will be presented at David Zwirner, New York. This will be the gallery’s first presentation of his work since the announcement of his representation in May 2023.

Work by the artist is held in distinguished public collections such as the Buffalo AKG Art Museum, Buffalo, New York; de la Cruz Collection, Miami; Fondation Louis Vuitton, Paris; George Economou Collection, Athens; Hall Art Foundation, Reading, Vermont; Mead Art Museum, Amherst College, Amherst, Massachusetts; The Museum of Modern Art, New York; and Whitney Museum of American Art, New York.

1 Roberta Smith, “Joe Bradley Begins Again,” 

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A photograph of Joe Bradley, dated 2023. Photo by Jason Schmidt.

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Joe Bradley - Selected Press

Ocula, interview by Elliat Albrecht

Joe Bradley on Process and Finding the Balance

The New York Times, feature by Roberta Smith

Joe Bradley Begins Again

Apollo Magazine, interview by Samuel Reilly

‘There’s something suspicious about painting’ – an interview with Joe Bradley

Artforum, review by Dan Nadel

CLOSE-UP: SCRAWL SPACE

T: The New York Times Style Magazine, feature by Kat Herriman

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