Dove Bradshaw Resume

Born September 24th, Katherine Loveday Bradshaw in New York City at 436 East 88th Street. Goes by the name of Dove. Mother, Jean Kathryn Cormack, of Portland, Oregon and London and David Nelson Bradshaw of New York City. Mother studied Egyptology at London University and Queens’s College, Cambridge University for three years. Assisted on the Maiden Castle dig in Dorset and Vercingeterix’ Refuge in Brittany under Sir R.E.M. Wheeler, Keeper of the London Museum. Returned to the US during WWII, met in New York and married her father at Fort Benning, Georgia in1942, abandoning plans as an archeologist. After her last child was in middle school, she began a full time job (from 1964 to until 1984) as secretary to Mrs. Webb, founder of the World Crafts Museum and World Crafts Council in New York. Worked as a volunteer and assitant organizer of the World Crafts Council international Conferences. Administrator for the World Dance Aliance from 1985-1990. From 1992 to the present, volunteers as the Administrator for DiCapo Opera Company, New York. David Bradshaw, grew up in New York City, receiving a Masters in Art and Education from City College of CUNY. As a First Lieutenant he was called into the army in WWII and rising to Lieutenant Colonel. Stationed in New Guinea in the Special Services involved with entertainment. Returning to the US, he founded the Directors Art Institute in 1950, a commercial art business. Among others, he represented Andy Warhol during Warhol's commercial phase. In 1970 he joined Freelance Photographer’s Guild and independently researched and published a Source book on World Photography. In 1979 he became Director of the Research Library for Grolier Encyclopedia. Died 1984.

Jonathan Cormack was born at 175 East 75th Street, NYC, home of Olive Barrows Bradshaw, their grandmother. Lives in Elverson, PA with his wife, Diana Cormack. He formerly owned a construction business and now retired, is currently involved with the restoration of an18th Century farmhouse, and its grounds and garden.

In ’54, ’58, ’62 with her mother and siblings takes a month each summer to drive round trip from New York to summer at her maternal grandparents' brazil and hazil nut ranch outside Newburg, Oregon. The family crisscross the country six times through the northern, middle and southern routes. In ’62 sees Old Faithful and sulfur pools in Yellowstone, N. Dakota, Craters of the Moon, Idaho, and visits Carlesbad limestone caves, all of which influences her later work.

For six years produces plays for each major holiday of the year. She writes, directs, designs, stages and acts with siblings and friends and invites a formal audience including teachers and once Major General Van Fleet, her great Aunt's employer. Attends NYC public school PS 77 from 1955- 1959.

1960 attends Nightingale Bamford School, NYC, an all girls’ school, until graduation (with the exception of Eleventh Grade). Begins a classical education. Studies literature, Greek and Roman culture, Latin, sciences (chemistry) and math. From ’60 – ’67, privately involved in medievalism, studying alchemy. In’65 takes fencing lessons and competes in weekly matches. Makes small oil paintings. Summers every year in the Endless Mountains, Laporte, PA from birth to age 17. Stays in the family home, a Greek Revival Victorian mansion, built in 1840, in need of constant repair. In 1963 performs a surrealist act— brings her Mexican burro (of 10 year's) into the house leading the unusually awed donkey (a kicker and biter) through the breakfast room, kitchen, lunch room, dining room, sitting room and parlor where she plays a made up composition on the piano which the donkey seems to recognize. The donkey winters at a local farm.

With fifteen year old sister, leaves boarding school the day it ends on a hitchhiking trip to Ireland. From Fishguard, Wales, ferries to Cork, travels from Cork to Limerick, County Wicklowe, and Dublin. During the two-week trip, sleeps on the deck of the ferry, in haystacks, barns and youth hostels. Flies to London, stays several weeks, then travels to Paris for a month each time staying with family friends.

Graduates Nightingale-Bamford School, New York and in the fall enters Boston University, studying Liberal Arts. Lives off campus in a South End apartment. Summers in Woodshole working as a laboratory assistant for a marine biologist.

Completes two years at Boston University while living in an apartment in Cambridge. Applies, but fails to enter Boston Museum School of Fine Arts. Summers in New York working as an assistant to a stained glass designer and fabricator. Reads Antonin Artaud Theater and Its Double, and The Theater of Cruelty. Attends BAM, La MaMA and other Downtown Theater. Does not continue with a Liberal Arts program but returns to Cambridge in the fall to reoccupy old apartment. Develops a portfolio by attending an evening life-drawing class and jewelry course at the Boston Museum School in order to reapply. In the jewelry class learns about liver of sulfur (a patina for silver) which later becomes a central material. A miscast becomes an important precursor to increased reliance on chance in work. Given a pair of mourning doves from the stained glass maker, she lets them fly free hanging a bicycle wheel for a perch. Shows it as a piece for student review. Accepted by the Museum School day program for the spring term.

Does not matriculate at the Museum School however until the fall. Instead takes spring term in NYC to study with Jolyon Hoffstead, ceramist, at the Brooklyn Museum School, New York. Takes summer course at Katherine Gibbs Typing School as parent’s final insurance against the artist’s life. Meets Howard Guttenplan, Director of Millennium Film Theatre. Makes super 8 films. In fall begins attending the Museum School until graduation in 1974 with a BFA. Principally studies ceramics with William Wyman, lithography with Nicolas Hondrogen, life drawing and photography. Reads Silence, by Cage and Centering, by M.C. Richards. Her work is influenced by Duchamp, Dada and the Surrealists, particularly Dali, Tanguey and Buneul. Reads the Russian novelists, Dostoevsky, Tolstoy, Gogol.

Summers in Berkley, CA; studies with Pete Voulkos and Vaea Marx at the University of California at Berkeley. Lives in a hippie commune on Panaramic Way with paintings done by members of the commune nailed to the outside of the house. Makes raku sculpture in kilns fired with Eucalyptus leaves. Appears in Vaea Marx’s film which is shown at the opening of his one person exhibition of ceramic saddles at the San Francisco Museum of Modern Art. Sees a recreation of the Ryoanji Garden at the University of California at Berkeley. Returns to NYC, attends opening of Castelli and Sonnebend Galleries in Soho. Suffers from a severe identity crisis beginning in California due to association and comparison with older very established artists. Returns to school in Boston in fall and through Transactional Therapy is able to recover. Learns Maharishi Mahesh Yogi meditation practice encouraged by Dr. Larry Domasch, a NASA scientist and friend. Dr. Domasch, having written a paper comparing quantum mechanics to meditation, comes to the attention of the Maharishi. Together the Maharishi and Dr. Domasch found the Maharishi University of Management in Iowa which offers an undergraduate and graduate program. Many years later the artist's first monograph is used as a textbook in its art department. Designs and makes water clock (later titled 2v0) at Massachusettes Institute of Technology with the help of their scientific glassblower. Assists Jay Jaroslav, Conceptual artist and teacher at the Museum School, by creating 'identities' for his exhibition in Brussels. The FBI arrests Jaroslav. Speaks on his behalf in school-wide meeting organized to consider his dismissal. He is retained and eventually cleared of FBI charges. Inspired by Maya Deren’s Haitian dance film and Divine Horseman, her book on the local religion, Bradshaw travels to Haiti with filmmaker Howard Guttenplan. Spends Easter week in Port au Prince and appears in Guttenplan's film Haitian Diary. In early summer returns to New York and works as a commercial artist for Rei Yoshimura, designer of the new Coca Cola campaign and bottle design. Learns a great deal about graphic art and design. Later that summer for a couple of months travels with Guttenplan to Copenhagen, Venice, Rome and attends the Independent Film Festival in Vienna. Returns to BMS in the fall.

Frequents The Turtle, local blues bar, where Bradshaw meets Howling Wolf, Big Mamma Thorton, and Muddy Waters, among others. Invites Howling Wolf to dinner with blues pianist, Teo Leijasmeir. Travels to Jamaica for Spring break. Hears local reggae. In Cambridge for income works as an artist's model and gives children’s parties. The Dadist parties are written up in the Boston Globe. On holidays in NY, photographs exhibitions for the art history class at Museum School. At Ivan Karp Gallery photographs William Anastasi’s Six Sites (on stretched canvas photo-silkscreen images of a ten percent reduction of the wall on which they are hung). Graduates with BFA from the Boston Museum School. Leaves Cambridge apartment where she's stayed since 1968. Summers again in Berkely, studying ceramics with Voulkos and Vaea. September returns to New York and works at Millennium Film Theater transcribing tapes of filmmakers talks. Attends premières of Stan Brackhage, Jack Smith, Anthony McCall, Michael Snow, Hollis Frampton, Paul Sharits, and Stan Vanderbeek, among others. At request of Jack Smith, photographs him dressed as 'Lobster Prince' reigning over his 'Arab slaves', the local Hispanic crowd at Bethesda Fountain in Central Park (lost). Makes papier-mâché frames for his film stills (never completed). Attends avant guard concerts at Carnegie Recital Hall, MoMA, St. Marks Church. Sees theater at Richard Forman's Ontological Theater, La MaMa, The Wooster Group, and Mabou Mines. Meets William Anastasi on August 15th and at the end of October, begins a life-long relationship with Anastas at first living at his apartment, 640 Riverside Drive (141st Street). They stay at this address until the fall of 1990. The social make-up of the neighborhood called Washington Heights, is Dominican and African American. Meets Joe Wilder, jazz musician, and Ingram Fox, classical composer, in their building. Learns of Anastasi’s idea of photographing himself once a day for a year. Suggests a double portrait which prompts them to start. Twenty-five years later the couple completes another year beginning and ending on the same dates. Begins a life-long routine of running 3 miles five or six days a week, with a mile run on off-days.

Competes without success in the Boston Museum School Fifth Year Competition while living in New York. Begins anti-resume. Has her first solo exhibition at Razor Gallery in Soho, New York. Presents porcelain sculptures and Reliquaries of Duchamp, Cornel, Chaplin, Deitrich, Jean Cocteau, Bob Dylan along with a self-portrait. In a series of evenings at the gallery Patti Smith reads her poetry and Kurt Vonnegut reads excerpts from Slaughter House Five. Wins National Endowment of the Arts grant in Sculpture. With Anastasi travels to Italy for his first trip. (All four of his grandparents are Sicilian and emigrated to US in the early part of the 20th Century.) They visit Milan, Venice, and Rome.

January they visit Bradshaw's cousin Lance Lindabury in Cairo to reunite with her younger brother Timothy. He travels up from Tanzania to meet them. By then Timothy has been traveling for five years in East Africa and Madagascar. Climbs the Great Pyramid. Together with Anastasi and Timothy travel for a month up the Nile by boat, donkey and train (sometimes third class) to Kartoom. Back in New York claims fire hose as a work of art at the Metropolitan Museum, New York by affixing her label (titled Performance in 1992).

Suggests John Cage for the composer for Anastasi’s You Are at the Clock Tower, New York. Cage agrees to perform the work. Photographs the event. This begins the friendship with Anastasi, Cage and Bradshaw. Cage invites Anastasi to play chess which within a couple of years develops into a daily game when they are both in the same city . They become like members of Cage's and Cunningham's family. Begins having macrobiotic dinners that Cage prepares and learns to cook from him. Plays round-robin chess whenever a fourth comes for dinner, sometimes Dorothea Tanning, Grete Sultan or Teeny Duchamp. Cunningham does not play chess. With Cage, Anastasi and Bradshaw attend concerts and exhibitions together and Cage sees all her work that she regularly shows to him till the end of his life. Rereads Silence and adds M, X, and Kostelanitz’s biography of Cage. Has second exhibition at Razor Gallery of clay sculpture though her work is changing and this new side of her work is as yet not shown. Pursues conceptual work such as Untitled in which a framed sheet of newsprint is dated with each material and the length of time it remains stable in museum conditions. Installs Break to Activate by screwing a sheet of glass over the printed words on a wall at PS1 Contemporary Art Center, New York. At Alanna Heiss’ invitation, puts it outside the main exhibition space on the ground floor. Six months later it is activated by a visitor who breaks the glass. Teaches an evening class of stained glass at the School of Visual Arts, New York until 1981.

Continues with conceptual work such as Homage to Thoreau, a pencil shaving; and Painting, paint peeled from a sheet of glass. Photographs fire hose, makes postcard, plants stacks of 50 at a time in Metropolitan Museum Shop amongst twentieth century artists and buys two. Over the next few years continues to supply cards to the museum whenever visiting.

Influenced by John Cage’s remark, “I’m more interested in self alteration than self expression”, makes 50% Better dressed as a nun. Tabulates the difference a smile makes begging on two successive days in the subway. Makes Spent Bullets, by shooting .38’s at the NYPD firing range and casting them into earrings and pins in silver and gold. Claims a hygrometer at the Kunstmuseum, Dusseldorf, by affixing a label when she travels there for an exhibition of Anastasi's work, Incidents and Coincidents. Helps to curate the show along with Dr. Stefan Von Wiese. Makes guerilla postcard in 2002 at invitation of Danish gallerest and invites local artist to plant cards, finally titling it A(claimed) Object. In retrospect realizes it is an unconscious precursor to humidity based works. Photographs edge of Manhattan Island (the idea of circling the island was conceived at age 9) by sighting the farthest point where water and land meet. Travels to that point, photographs ahead and behind to the next and previous points. To present work constructs ringed book so that it has no starting point.

Travels to Paris for Cage’s 70th birthday. Participates with Cage and Anastasi in a three-person exhibition at The American Center organized by the Director Judith Pisar. With Anastasi stays two weeks with Teeny Duchamp in Sous Grez. Together they travel to Sicily to visit Rondazzo, Anastasi’s ancestral home. They visit catacombs in Palermo where the tradition of desiccation continues from the 18th Century. Bradshaw has second solo exhibition at Ericson Gallery of Works on Paper, involving a process she invented similar to the carbon removals. It involves making surfaces prepared with white caran d'aches that could be added to with graphite, ink and other crayons or removed.

At Wave Hill, shows drawings made in the last two years of plants found there. Virginia Dwan buys one. Simultaneously works on collages mounted on wood placing in chance arrangement images found in old medical and mathematical books. A selection of them is shown along with works of Anne Ryan curated by poet Ann Lauterbach at Washburn Gallery in Soho. Meets Ulay and Marina Abramovic at Cage’s house. Within a couple of weeks Anastasi and Bradshaw stay with Marina and Ulay in Amsterdam for a week and accompany them to Brussels and Antwerp to attend a couple of their performances. In NY through Abramovic and Ulay meets Thomas McEvilley who becomes a champion of her work writing criticism, interviewing Cage for a first book and later the text for her first monograph. After traveling with Abramovic and Ulay again stay with Teeny Duchamp in Sous Grez for two weeks. Spend one night in Duchamp’s studio in Neuilly amongst the editioned Readymades. Asks Anastasi to photograph her looking up at the bottle rack with hands together "Praying for irreverence". They travel to Cadequez, stay with Katy Monnier, Teeny Duchamp’s granddaughter, and meet Richard Hamilton. Visit Barcelona and Madrid particularly to see Gaudi architecture. Back in New York through Cage, Bradshaw meets Linda Mussman and Claudia Bruce, Founding Director and actor in Time and Space Limited. From an idea in 1979 Bradshaw camouflages the walls and floor of their storefront theater with WWII dazzle patterns received from the Camouflage Department of the US Navy. Accompanied by music by Semi Firingioglu, Time and Space develops a work based on the piece . Roy and Dorothy Lichtenstein attend and are enthusiastic. The following year Bradshaw is invited by Cage to design for the Merce Cunningham Dance Company. In 1985, deconstructing space by removing the ceiling panels and using uncolored raw canvas cut in dazzle forms, she adapts Camouflage for a performance at Syracuse University, Utica NY.

Designs and lights Arcade for MCDC, at City Center (two months later remakes it for Pennsylvania Ballet). Costumes Deli Commedia for video and Events for stage. Continues Contingency series. Exhibits collages on wood at Lorence Monk Gallery in Soho, NY. Told that Caroll Dunham strongly supports work although they have not met. Cage acquires a minimal white work from this series.

Designs, lights and costumes MCDC's Fabrications which premièred in winter at Northrop Auditorium, Minneapolis, Minnesota. For the set, reworks a collage on wood in oil on vellum. The Brooklyn Museum buys the original vellum from which the set is taken. Fabrications is revived in 2002 for MCDC's 50th Anniversary at Lincoln Center. It is one of four historical pieces to accompany a new work. Later at Cage's home meets Emanuel De Melo Pimenta, the composer for Fabrications, as well as an architect, poet, author, and photographer. They again collaborate on Trackers with MCDC and becoming close friends collaborate on many performances and exhibitions thereafter. They form a musical and performance group called Group in 2003. An exhibition based on MCDC and his collaborators at Lehman College, NY is curated by Nina Sundell, daughter of Leo Castelli and Ileana Sonnebend. Meets Charles F. Stuckey, after his lecture on Nothing at the Philadelphia Museum Centennial Celebration of Duchamp’s birth. Begins close friendship. Teeny Duchamp, Beatrice Wood, Jasper Johns and Cage also attend the Centennial. Begins large-scale series in oil on vellum using projected chance arrangements of found children's drawings. Later the artist collects drawings from Copenhagen, Kenya, a Harlem day care center and an Upper East Side, NY, primary school. The drawings are used by the artist to loosen her gesture and thinking. Makes Birth series from Harlem drawings on the occasion of the birth of her nephew, Alexander Fabry. One is acquired by the Philadelphia Museum of Art. Anastasi and Bradshaw stay in NY for the summer occasionally visiting Alanna Heiss and Fred Sherman in Patchogue, LI. In the fall, they travel to Frankfort for the première of John Cage’s Europera which they attend with him and Cunningham. The preceding week, they visit with Cage, see an important exhibition of Frieda Kahlo, Diego Rivera, Orozco and others, play chess and prepare homemade meals together. Before leaving Europe, Anastasi and Bradshaw visit Venice, their favorite city,.

In summer they move into the Stone House in the Endless mountains. Spend half or almost all of each summer thereafter. The house, built and designed by the artist’s father and uncle, begun in 1932 when they were children, is based on a German Medieval half-timbered cottage (unheated) with a turret, gabled roof and sedimentary rock floor taken from a nearby river bottom. All materials except nails, timbers and cement were found or donated to the youths. It was finished just after WWII when they returned. The house retains aspects of childlike craft and vision. Bradshaw prepares twenty-three oil on vellum works from the past three years for her second exhibition at Utica College. She does not attend the opening, instead travels with Anastasi to Copenhagen working on oil on vellums to be shown at Stalke Gallery in the spring of the following year. Concurrent with the Utica exhibition, in October opens the inaugural exhibition at the Sandra Gering Gallery, 11th Street, NYC. Exhibits Children’s Drawings. Later that year shows first Contingency works in group exhibition at Sandra Gering. Cage telephones to say how much he likes one from 1985. At Christmas Bradshaw gives it to him. Later it becomes a subject for conversation with Cage and Thomas McEvilley in the Works catalogue, published in 1993. At first Cage likes the piece because it is amorphous but when it changes and the grid emerges he admits to McEvilley he doesn't like it. He says he refuses to exchange it with another work rather feeling that he needs to live with it because it is teaching him to accept the changes that are going on all around him. Bradshaw learns of this only after Cage's death when the tape recording of their conversation is first heard. In an edition of 25, Bradshaw makes a catalogue raisonnè of works from 1969 to the present titled Nothing. It consists of an open electrostatic boxed book which is continually added to at irregular intervals. It is later acquired in the permanent collections of The Metropolitan Museum of Art, NY, The Museum of Modern Art, NY, The Whitney Museum of Art, NY, The Art Institute of Chicago, The Getty Museum, Malibu, The Beaubourg, The Kunstmuseum, Dusseldorf, Moderna Museet, Stockholm and The Russian State Museum, St Petersburg, among others.

For his contribution at the Carnegie International Cage invites three women artists, Bradshaw, Mary Jean Kenton and Marsha Skinner to exhibit along with him. Scoring the space for a daily rotating hanging program, and the placement of a number of chairs, he selects twelve large Contingency works on paper, twelve of Kenton's scatter pieces, twelve of Skinner's paintings and twelve of his Ryoanji Drawings. With Cage and Anastasi attends opening dinner where Richard Hamilton is also an exhibiting artist. Executes Plain Air at PS1 Contemporary Art Center in an exhibition Alanna Heis launches in response to the Whitney Biennial. In an attempt to deflect market influences, she invites two Eastern Europeans, Zadenka Gabelova and Richard Wasco, to curate a survey of American art. For the large ground floor exhibition space the artist increases the size of this work: two wheels (penny/farthings), two targets, and two pairs of flight pigeons. First solo exhibition devoted to the Contingency series of paintings and large-scale works on paper is shown at Sandra Gering. Accommodates the chemical changes of the paper works by placing them between two sheets of glass in a steel frame designed by the artist. Also shows Full, a series of pigment paintings bound in varnish on stretched linen. Uses titanium dioxide pigment in a painting titled Boundary. The title is taken from a two-fold source—her own 'boundary' or body height and shoulder width, as well as the definition of painting she found in the Shou Wen (first century Chinese dictionary). It states that “To paint is to make boundaries”. Bradshaw views this as an ever relevant definition of the avant guard.

Makes first print with Evans Editions, NY and Renaissance Press, Vermont. It is a photogravure of a Honey Locust thorn twisted around the arm of MCDC dancer, Victoria Finlayson. Its title Medium comes from realizing that the dancer's pain acts as a kind of medium to his or her performances. Bradshaw observes that the dancer can use it as a material the way pigment is for a painter. The Metropolitan Museum of Art, New York publishes their legitimate postcard version of Performance (the Fire Hose). It becomes a best seller and within a few years sells out. Completes large scale Contingency [Book] bound with a silver clasp, housed in a silver-over-copper case stamped with its title. It consists of six leaves oxidized with liver of sulfur with a seventh left untreated. Anders Tornberg and his future wife, Inger each buys one painting of the diptych titled Generation from that year. The images are complementary checkerboard patterns. Travels to Sweden for Anastasi’s exhibition Works, 1963-92 at the Anders Tornberg Gallery in Lund. Bradshaw and Anastasi choose Carl Kielblock to do the décor and costumes for MCDC's Loostrife, which premiéres at Théâtre De La Ville, Paris. Cage gives one of his final most extensive interviews to Thomas McEvilley about work for the artist’s first monograph, Works 1969-1993. Cage unexpectedly dies two months later on August 12th. Bradshaw begins practicing Yoga. On October 13th Anastasi, Bradshaw and her mother attend Cage's wake at the MCDC studio at Westbeth. Merce Cunningham oversees the invitations and arrangements. Two thousand people attend over the course of the day. Roarotorio performer Joe Heeny arrives from Ireland to play traditional drums with bones accompanied with a ululation by an Irish singer who had also performed Cage's music. Without being dark she interspersed the soulful song at chance determined intervals accompanying live performances played by composers Cage had chosen for the company over the years. Flowers were brought and individually placed in dozens of wine bottles as Cage himself had done eschewing bouquets to present each flower one at a time.

The twentieth anniversary of living with William Anastasi is celebrated by dual exhibitions, one Autobodyography (WA) with Indeterminacy (DB) at Werner Kramarsky, and the other, Unsighted Drawings (WA) with Contingency (DB) at Sandra Gering. Both are concurrent with John Cage's Rolywholyover circus at the Guggenheim Museum, New York. Eight works of Anastasi's and six works of Bradshaw's are included in that exhibition. Makes Do Not Touch, first Indeterminate sculpture with seven drops of mercury secured in a miniature glass vial with sealing wax. At the end of the year makes first land sculpture, titled Indeterminacy consisting of pyrite and Cararra marble. Leaves it in Sandra Gering’s garden in New York to weather. Travels to Paris for Anastasi’s lecture on Jarry’s influence on Joyce delivered at the École Normale Supérieure, Sorbonne. Stays a week in Rouen with Teeny Duchamp, Richard Hamilton, Rita Donauch, and Calvin and Dodi Tomkins for a Duchamp symposium. All visit Duchamp’s idyllic childhood home in the mayoral house in Blainville at the invitation of the current mayor. Two of Duchamp’s father’s watercolors still hang in the study though. In summer begins herb and woodland garden in the mountain house.

Spring, travels to the marble quarry in West Rutland, Vermont to make large scale Indeterminacy stones (one to two tons) for fall exhibition at Sandra Gering. Shows three-part 16 mm film at this exhibition. Part one, the 2v0 is filmed in action as both a clock and level; part two, the mechanics of film are shown in their most primitive form as they may have been first discovered: a stream reflects a beam of sunlight into a dark cave projecting its movement onto the rough stone wall; part three, liver of sulfur dissolving in a bowl of water. Anastasi and Bradshaw take a one-month residency in Orkney, Scotland to produce an exhibition at the Pier Center. The Museum, founded by a gift of an important collection of the mid century St. Ives group, is unexpectedly devoted to cutting edge work. Bradshaw learns about it from Allan Johnston, a well known Scottish artist who lives in Edinburgh, and Lawrence Weiner. Becomes interested because of her maternal great grandfather who had come from Orkney. Charles Carpenter, Bradshaw's collector, attends the opening traveling from New Canaan, CT. Bradshaw leaves two permanent pieces in the Pier’s courtyard: Passion (1993), designed originally for an outdoor work is shown for the first time embedded in one of its exterior walls and left to weather; and Indeterminacy V, a local sandstone boulder is combined with New York pyrite. The artists visit Scarabrae, a Megalithic village built from the same sandstone. Nearby the Indeterminacy stone was found. The village, half underground, follows the form of a rabbit warren with a network of tunnels running between homes. Anastasi and Bradshaw visit Maes Howe, a tomb with a 30 ton sandstone block forming one side of its corridor. The corridor aligns with a menhir in a meadow a quarter mile away. When the sun rises on the solstice a shaft lights the corridor striking the tomb. In this moment the souls are meant to rise to heaven. They also visit the Ring of Brogdar, two concentric circles of standing stones of similar scale but more complete than Stone Henge. Visit Oxford to see Richard Hamilton and Rita Donaugh. Row on the Isis.

Introduces Contingency paintings, Indeterminacy stones and Indeterminacy [film] at Stalke Gallery Copenhagen. Travels to Sweden for Anastasi’s exhibition at Anders Tornberg Gallery. Anders and Inger Tornberg buy Ag + K2SX + K2S03, Spent Bullets and Survival (acupuncture needles placed in a wax cast of a bird heart). Tornberg, gravely ill, has immediate identification with the piece. Starts Waterstones using Indiana limestone cubes cut to size and separatory funnels. Limestone is used because of its relative softness. Has funnels made by a scientific glassblower and begins a slow and steady dropping of water that has continued until the present. After a decade a slight indentation has been created. Decides for next work to use rock salt (first executed in 1998) and granulated industrial grade salt (in 2001) in place of stone. Starts large paintings titled S, made up of powdered sulfur bound in varnish. Large quantities of sulfur had mistakenly been shipped from a sulfur factory. Bradshaw determines to use it all.

Spring, shows Guilty Marks at Stalke Gallery consisting of paintings from the last two years made by pouring salts, chemicals and inks on wet varnish. The title betrays the fact that the work does not rely solely on chance for composition. Does not attend the opening. Accompanies Anastasi to makes prints with Niels Borch Jensen by pouring acid on the etching plates as well produces a photo-etching of Spent Bullets. Number 1 of the edition is acquired by The Metropolitan Museum, New York. Travels to the University of California at San Diego for a group exhibition titled Nature/Process in which she shows Negative Ions I this time with red rocksalt from Salt Lake. Meets Kathleen Stoughton, the Director and plans to return with a future exhibition.

The first is an extensive solo exhibition at Stalke Gallery, a five room gallery presenting seven new series. Negative Ions II (’96/’01) three salt mounds with water-filled dropping funnels is shown for the first time. Self Interest (’99/01), also a première, consists of the twenty-three principal body elements isolated in Pyrex flasks in their proportion by weight. A chemistry laboratory in Copenhagen assists in filling the flasks. Also premièring Quarter Equals Half (’00), raw pigment paintings on equilateral canvases with champhored sides, Material/Immaterial (’00) land sculptures with local spring and aged calcspar, Notation IV (’00) cube of German limestone with a milled copper prism left outdoors for three months, Infringement (’93/01) a vertical copper bar embedded in the wall touching the floor, which is then treated with acetic acid until its verdigris stain flows onto the floor, Nothing Series II (’00) a goose eggshell cast in gold. The only piece shown earlier was Passion (’93) . All the work was made in Denmark except the flasks and gold egg are shipped from the US. Opening the next day, the second exhibition at the Museum of Contemporary Art, Roskilde is titled Anastasi Bradshaw Cage. It involves three generations of pioneers each working with his or her own method of chance. Twenty one of Cage's works from 1950-1989 from the Anastasi/Bradshaw collection are shown, made by the use of what Cage called chance operations. Sixteen of Anastasi’s unsighted works from 1961-2001, and sixteen of Bradshaw’s weather or chemical interactive works from 1969-2001 were also shown. Returning to NYC in the new year Bradshaw exhibits Waterstones (’96) at Stark Gallery. This time uses tap water. Also included are Without title, copper treated with acetic acid (’01, made in Ireland), and Ikkyu (’01, made in Denmark) a brass scroll treated with ammonia and acetic acid. That summer plants first vegetable garden and for a New Yorker enjoys her first home grown food.

With Anastasi travels to Lisbon to lecture at Diferenca Gallery as part of a symposium titled Thought as Design. Artists and scientists from the US, Europe and South America are invited to participate for one week in a Benedictine Monastery in the hills of Arrabida, an hour outside Lisbon. Bradshaw is Invited to return in 2003 for a solo exhibition at Diferenca Gallery. The medieval monastery was approachable only by sea up until the 1930’s. Anastasi and Bradshaw meet Daniel Charles there and stay with him in Antibes for a week to work on a ’02 monograph dedicated to John Cage which is scheduled to appear this year a decade after his death. Bradshaw shows first oil paintings titled Angles (equilateral painting) in Summer white, some are not at Larry Becker Contemporary Art. In spring with Anastasi travels to Berlin, Cologne, Stuttgart, Paris, and London preparing exhibitions. Completes in Cologne Art and Life (’00/02) a miniature sculpture: one a pyrite crystal 3/8 inches square, accompanied by its copy in 24 Karat gold, having been given permission by Malevich's miniature children's blocks painted white. This Malevich piece was included in the exhibition The Century of Innocence: The History of the White Monochrome (2000) in which Bradshaw also participates with Boundary. Acts as Associate Curator along with Evelina Domnitch for Willoby Sharp's H20, an exhibition involving twenty five artists working with water. The exhibition follows thirty years after both his Earth Art, and Air Art exhibitions. Makes second vegetable garden expanded to include asparagus, and hemp. Reads Neitszche's Thus Spake Zarathustra and Will to Power, and stories from The Thousand Nights and One Night. Mark Batty Publisher, LLD, New York, agrees to publish a monograph on her work with text by Thomas McEvilley. It includes the republication of the 1992 Cage and McEvilley conversation. A Furthermore grant assists this publication to be released in March ’03. It will accompany a retrospective at The Sidney Mishkin Gallery, Baruch College, City University of New York in March, ’03. The ten year memorial concert for John Cage is organized by Emanuel De Melo Pimenta at the Tatinsian Gallery in December. Creates INFINITY an anti-war performance on the eve of the Iraq war. Invites audience members to select a spent bullet from a FIRE bucket, then bags it in a velvet bag, signing and numbering each successively beginning with number 1/INFINITY before giving it away. Does first photographic work with Evelina Domnitch as a model, asking her to pose nude with the names of the body elements painted on her back in descending order by weight.

The mid-career exhibition, Formformlessness at The Sidney Mishkin Gallery opens in the spring. The publication of the monograph, Dove Bradshaw: Nature Change and Indeterminacy is supported by the production of a Limited Edition Box in an Edition of 40. The Box includes the monograph, two original works similar in each box with a third unique to each and four editions. Also in March at the inception of the Us/Iraq War, along with a team of visiting Irish students assists Anastasi camouflaging the floor, walls, and ceiling of the White Box Annex for his Blind 1966/03. Conceives of an anti-war poster involving the camouflaging of Anastasi nude with body paint, and then having him photographed in Blind. Anastasi attaches a Dwight D. Eisenhower quote to the poster, "We have all heard the term preventive war, I don't believe there is such a thing." Bradshaw convinces a paint company to donate the body paints and Art Forum along with collectors, Ost/Kuttner to donate the funds for a full page add. The Whitney Museum of Art purchases the poster in 2004. In June travels to Lisbon to prepare a solo show titled Angles at Diferenca Gallery at the invitation of Irene Buroaque. The gallery itself is in the shape of a triangle with a triangular courtyard. In the garden Notation V. with local limestone and a copper prism is placed. Anastasi and Bradshaw stay at the home of Emanuel De Melo Pimenta in Cais Cais. The artists travel to Rome and then Spoletto to stay a month in the home/studio of Sol LeWitt and are invited to use his Fabriano paper. They meet Marina Mahler, granddaughter of Gustav Mahler, who introduces them to the local artists, composers and a choreographer. Anastasi and Bradshaw travel to Bolognano near Pescara at the invitation of Baronessa Lucrezia Durini to exhibit work at the Defensa Natura Festival organized by Emanuel Pimenta. Baronessa Durini is a champion of Joseph Beuys's work and during his life offered him patronage and a summer home near by. Bradshaw makes three outdoor sculptures from salt, stones and thorns gathered locally. Stays in a medieval house formerly built for serfs, one of many that circle the Baronessa's Palazzo. She owns a dozen of these surrounding houses which have their ground floors transformed into glass 'virtines' devoted to the work of individual artists. Like an Italian Marfa, each evening the vitrines are lit up until dawn. Some of the works are surrealist, others kinetic and poetic. Meets Lita Albequerque there, an artist born in Tunisia living in LA. Bradshaw executes her first Daguerreotypes.

Makes Performance [Fire Hose] book at the suggestion of Carl Andre. Casts second goose egg in gold. Makes first guerrilla postage stamps and successfully mails them around the US and Europe. Exhibits principally editioned works, photo-etchings, gravures, photographs, inkjet prints, multiples, the LTD Box, along with a salt sculpture and an Angle painting and the "O" dress at Volume Gallery, NY. A nude model, one of Alvin Alley's dancers, wears the sheer net dress with the names of the body elements printed on its back, like the Domnitch photograph, but with the spelling of "oxygen' continuing down its front. The model slowly turns on a pedestal at the opening. Uses portrait photographed by Emanuel de Melo Pimenta in Diferenca Exhibition for the Volume poster. The Whitney Museum of Art purchases the Performance book and Volume poster. Travels to LA for Anastasi’s exhibition with the SolwayJones Gallery. Meets Tony Ganz. (in ’05 he acquires Anastasi’s Beethoven’s Fifth Symphony, 1966). Makes self portraits reviving childhood involvement in alchemy by portraying herself as a medieval alchemist with skulls. Notices without communication that Adam Fuss and Marina Abramovic, also in a self portrait, use skull imagery. Makes a print of the Daguerreotype image of a skull and egg using it for a flag to be flown at the inauguration of the Rubin Museum, NY. An iris print of the image made at Pace Editions is donated to their permanent collection. Executes a five month Negative Ions II with local salt for The Invisible Thread: Buddhist Spirit in Contemporary Art shown at Snug Harbor in Staten Island. Travels to Washington, DC, to ask the National Science Foundation scientists to collect salt from Antarctica. They agree to do so. Meets director of the Women’s Museum to discuss possible future work.

From February to May she has an extensive survey at Pierre Menard Gallery, Cambridge, MA accompanied by a catalogue which she designed. In May ONE traveled to Esbjerg Museum of Modern Art, Esbjerg Denmark under the title ONE More with the addition of Lawrence Anastasi, Janet Passehl, Cordy Ryman and Robert Ryman. The exhibition will travel to Thomas Rehbein Gallery, Cologne in January 2009. June and July Radio Rocks, 1998-2008 appeared at Larry Becker Contemporary Art, Philadelphia comprising an installation in which live reception of radio storms from Jupiter were picked up via radio telescope through pyrite crystals mounted onto stone cairns. Weather, world band short wave and local signals were received through hematite, galena, fluorite and pyrite crystals. Micro-waves, Echoes of the Big Bang were intercepted through a microwave receiver. Bradshaw will exhibit two work in Choosing, curated by Robert Barry at the Andrée Sfeir-Zemler Gallery, Hamburg in November.

BIOGRAPHY