| 2008 | Radio Rocks, Limited Edition Portfolio; Larry Becker Contemporary Art, Philadelphia, PA (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 Bang), Quick Constructions and Radio Contingency Jets |
| Time Matters, catalogue; Pierre Menard Gallery, Cambridge, MA, 40 works over 39 years, mid-career exhibition | |
| 2007 | Time & Material, catalogue, Senzatitolo, Rome (Waterstone, Ground, Negative Ions I, Crack In The Air, 2/0, 2/0 Daguerrotype scan, Contingency Pour, Material/Immaterial) |
| Contingency, Björn Ressle Gallery, New York (new Contingency Paintings, Contingency [Book], Waterstone, Crack In The Air, II series, Nothing, 2, Full, Quick Construction I) | |
| 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 Antonio (Zero Space, Zero Time, Infinite Heat and Oracle permanent works in Ingreja do Convento de Santo Antonio, Trancoso, Portugal) | |
| 2006 | Six Continents, "Trace of Mind", catalogue; 6th Gwangju Biennale, Gwangju, South Korea (Six Continents) |
| The Way, Gallery 360°, Tokyo (Full, Ground, Angles IV, Series 2, Nothing II, Carbon Removals, 2/0, Limited Editon Box) | |
| Radio Rocks, permanent installation commissioned by the Baronessa Lucrezia Durini for the town of Bolognano, Italy. | |
| Time & Material, catalogue; Ingreja do Convento de Santo Antonio, Trancoso, Portugal under the auspices of the SPIRIT OF DISCOVERY, Facto Foundation For The Arts, Sciences and Technology - Observatory, Trancoso, Portugal, 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- Julyl 20, 2006, exhibited Time and Materials, (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, Contingency and Body Works, Solway Jones 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) |
| Six Continents [and Angles 12 Rotations], Larry Becker Contemporary Art, Philadelphia, PA (première of both Six Continents and Angle paintings set in the 12 possible positions in which one side of the inner and outer triangle is level with the horizon) | |
| 2004 | Dove Bradshaw, Nature, Change and Indeterminacy, Volume Gallery, New York (Limited Edition Book, Editions and sculptures) |
| 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) |
| Angles, Diferenca Gallery, Lisbon, ( Angle paintings, Negative Ions II, Ground, Passion, 2v0, Notation V ) | |
| 2001 | Waterstones, Stark Gallery, New York, (Waterstones - limestone blocks, separatory funnels, water, première Ikkyu [brass scroll] and Notation works [brass sheets]) |
| Elements, Stalke Gallery, Copenhagen (première Self Interest, Material/Immaterial, Angle paintings, Notation I, Insertion, Negative Ions II, Series, Nothing II, and Passion) | |
| 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) |
| 1999 | Negative Ions I, Indeterminacy [film] and 2v0 curator: Michael Olijnyk, Mattress Factory Museum, Pittsburgh |
| Guilty Marks, Stalke Gallery, Copenhagen, (première Guilty Marks paintings) | |
| 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) |
| Irrational Numbers, catalogue, Sandra Gering, New York, (première Negative Ions I - salt boulders, separatory funnels, water, Contingency [Book II] and Equivalents), concurrent with: | |
| Irrational Numbers, Linda Kirkland Gallery, New York (première Indeterminacy stones - limestone blocks, pyrite, Contingency Pour I-IV, 2/0) | |
| 1997 | ‘S’ Paintings and Indeterminacy, Barbara Krakow Gallery, Boston, (première ‘S’ Paintings, Indeterminacy stones and Indeterminacy [film]) |
| 1996 | Contingency, catalogue, Stalke Gallery, Copenhagen, (Contingency paintings, Indeterminacy stones, Ground, 2/0, Without Title (cement paintings) |
| 1995 | Indeterminacy, catalogue, Sandra Gering Gallery, New York, (première Indeterminacy stones - Vermont marble, pyrite, Without Title [Carbon Removals] ) |
| Indeterminacy, curator: Neil Firth, Pier Center, Orkney, Scotland (première Indeterminacy stone (sandstone, pyrite) , Passion (outdoors), Contingency on wood panels and book, Full, Ground, Ag/K2SX + K2S203) | |
| 1993 | Contingency, book; Sandra Gering Gallery, New York, (première Contingency Paintings and Works on paper, 2/0, arrhe) |
| 1991 | Full, Sandra Gering Gallery, New York, (première pigment paintings) |
| Plain Air, curators: Ryzsard Wasco and Zdenka Gabalova, PS1 Contemporary Art Center, LIC, New York, (installation with live birds) | |
| 1990 | Plain Air, curator: Michael Olijnyk, Mattress Factory Museum, Pittsburgh |
| 1989 | Plain Air, Sandra Gering Gallery, New York, recreation from 1969 |
| Paintings on Vellum, Stalke Gallery, Copenhagen, première | |
| 1988 | Paintings on Vellum, Inaugural exhibition Sandra Gering Gallery, New York, première |
| Dove Bradshaw, curator: Joan Blanchfield, Edith Barrett Art Gallery, Utica College, Syracuse University, Utica, New York, (première paintings on vellum) | |
| 1986 | Collages on Wood, curator: Susan Lorence and Bob Monk, Lorence Monk, New York, (première) |
| 1984 | Works 1969-1984, curator: Joan Blanchfield, Utica College, Syracuse University, Utica, New York, (first mid-career exhibition) |
| 1983 | Last Year's Leaves, curator: Linda Mackler, Wave Hill, Bronx, New York, (première drawings) |
| 1982 | Works on Paper, Ericson Gallery, New York, (première caran d'ache, graphite on paper) |
| 1981 | Removals, Ericson Gallery, New York, (première Carbon Removals) |
| 1979 | Mirror Drawings, curator: Terry Davis, Graham Modern, New York, (première) |
| 1977 | Slippers and Chairs, curator: Terry Davis, Graham Modern, New York, (première) |
| Chairs, curator: Bill Hart, Razor Gallery, New York, (première porcelain sculptures) | |
| 1975 | Reliquaries, curator: Bill Hart, Razor Gallery, New York, (première porcelain sculptures) |
| 2009 | The Third Mind: Americans Contemplate Asia, curator: Alexandra Munroe, The Solomon R. Guggenheim Museum, New York (2/0) | |
| Visual AID Benefit, Metro Pictures, New York | ||
| 2008 | Five Americans, Lawrence Anastasi,William Anastasi, William Antony, Michael Coughlan, Dove Bradshaw, Borup Artcenter, Copenhagen, Denmark | |
| Group Exhibition, William Anastasi, Joseph Beuys, Dove Bradshaw, Robert Ryman, Carl Andre, Merrill Wagner and others, BjÖrn Ressle Gallery, New York (stamps) | ||
| Choosing, Curator: Robert
Barry, William Anastasi, Dove Bradshaw, Peter Downsbrough, Tadaaki Kuwayama,
Maurizio Nannucci, Richard Nonas, Richard Williams, Andrée Sfeir-Semler Gallery, Hamburg |
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| The Missing Peace, Artists and the Dalai Lama, Hillside Terrace, Shibuya, Tokyo (Salt, Half Heard) | ||
| Brooklyn Rail Benefit, Pace Gallery, New York | ||
| Aldrich Museum Benefit, Aldrich Museum, Ridgefield, CT | ||
| ONE More,: Dedicated to Sol LeWitt, curator: Bradshaw; with 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 | ||
| 2007 | ONE: Dedicated to Sol LeWitt, with Anastasi, Andre, Barry, Bradshaw, Hafif, Highstein, Kretschmer, LeWitt, Nonas, Wagner; curated by Bradshaw at BjÖrn Ressle Gallery, New York | |
| White Box Annex, New York (Angle 12 from Angles 12 Rotations) | ||
| Benefit Auction, Mattress Factory, Pittsburgh | ||
| Postcards From the Edge, Benefit Creative Time, James Cohan Gallery, New York | ||
| Sol LeWitt Collection, Weatherspoon Art Museum, North Carolina (Angles II) | ||
| Invention, Merce Cunningham & Collaborators, The New York Public Library for the Performing Arts, Lincoln Center (collaborative work with Merce Cunningham) | ||
| Fresh, The Museum of Contemporary Art (MOCA). Los Angeles, Benefit Auction (Quick Construction 5 With Blue) | ||
| LeWitt x 2, The Miami Art Museum, 2007, exhibited Angles II and Notation (oil painting and copper work). | ||
| The Missing Peace: Artists Consider the Dalai Lama, opening at UCLA Fowler Museum of Cultural History, 75 June 11th – September 6, 2006; traveling to Loyola University Museum of Art, Chicago, October 28- January 11, 2007; Rubin Museum of Art, New York, March 3, - September, 2007; updates for Frost Museum, Miami, Museum of Fine Arts, Taipei, as well as venues in Berlin, Rome, Prague, and Zagreb visit http://www.dlportrait.org, exhibited salt half heard, première (Himalayan Pink Salt Crystals, funnel, water) and Peace Flag, 2005 (birds on target cut out printed on silk chiffon). Review: Castro, Jan Garden, Sculpture Magazine, April, 2008 | ||
| William Anastasi, Stuart Arends, Ragna Berlin, Dove Bradshaw, Robert G. Edelman, Jene Highstein, Kika Karadi, Sol LeWitt, Anne Senstad, Howard, Smith, Marjorie Welish, Bjorn Ressle Fine Art, New York, showing Herself In Her Element photogravure 2005 and Equivalents I and II, Laporte, 2005. | ||
| 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, May 27th 2006 – May 27th 2007 exhibited Eurasia, 2006, (Irish salt, funnel, water). | |
| The Missing Peace: Artists Consider the Dalai Lama, opening at UCLA Fowler Museum of Cultural History, 75 June 11th – September 6, 2006; traveling to Loyola University Museum of Art, Chicago, October 28- January 11, 2007; Rubin Museum of Art, New York, March 3, - September, 2007; updates for Frost Museum, Miami, Museum of Fine Arts, Taipei, as well as venues in Berlin, Rome, Prague, and Zagreb visit http://www.dlportrait.org, exhibited salt half heard, première (Himalayan Pink Salt Crystals, funnel, water) and Peace Flag, 2005 (birds on target cut out printed on silk chiffon). | ||
| LeWitt x 2, inaugurating the new building of the Madison Museum in Madison, Wisconsin, Oct. 28, 2006 – Jan. 5, 2007, exhibited Angles II and Notation (oil painting and copper work). | ||
| Aldrich Undercover, Aldrich Museum Exhibition and Benefit, Ridgefield, CT | ||
| 2005 | Anastasi Bradshaw Cage Cunningham, curated by Marianne Bech and Dove Bradshaw, The University Art Museum, The University of California at San Diego, 25 works: paintings, sculptures, work on paper, DVDs, dance collaborations with John Cage and Merce Cunningham | |
| Summer Group, Larry Becker Contemporary Art, Philadelphia, Angles scored for the 31 days of the exhibition, première | ||
| Reality, curated by Sam
Jedig, artists: Olafur Eliasson, Christoph Dreager, Per Bak Jensen, William
Anastasi, Kristleifur Björnsson, Dove Bradshaw, Christian Falsnaes og Bella Angora, Jeppe Hein, Gudmundur Ingolfsson, Per Bak Jensen, Joachim Koester, Esko Männikkö, Kristian Hornsleth, Lone Mertz, Morten Nilsson, Nikolaj Recke, Beat Streuli, Annika Ström, Kirke Sonnerup, Denmark, exhibited They Were and Went (Duraclear film) |
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| Benefit for The Museum of Contemporary Art, LAMOCA, Los Angeles |
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| Anastasi Bradshaw Cage Cunningham, curated by Marianne Bech and Dove Bradshaw, The Bayly Museum, The University of Virginia, Charlottesville, Virginia | ||
| Edge Level Ground: William Anastasi, Dove Bradshaw, Ulrigh Erben, Jack Sal, Christian Sery, Stephanie Hering Gallery, Berlin, (exhibited Negative Ions II, Series, Nothing II, Ground, 2/0, Do Not Touch) | ||
William Anastasi Dove Bradshaw, Les Yeux du Monde, Charlottesville, VA., exhibited Angle paintings, Equivalents, Medium photogravure, Notation III, première archival self-portrait inkjet prints) |
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| 2004 | Opening Celebration of the Rubin Museum of Art, The Museum of Tibetan Art, The Flag Project at the invitation of the museum and Kiki Smith, New York | |
| Summer Group Exhibition, Larry Becker Contemporary Art, Philadelphia, exhibited Angles painting | ||
| Abracadaver, The 2004 Paperveins Museum of Art Biennial, curated by Koan Jeff Baysa, The Here Art Center, New York, exhibited They Were and Went | ||
| Stereognost & Propriocept, curated by Koan Jeff Baysa and Donald Kunze, artists: William Anastasi, Dove Bradshaw, Thomas Caggiano, Alexandre Charriol, Jinkee Choi, Ian Curry & Mariko Tanaka, Angela Freiberger & Carla Rocha, Myk Henry, Wendy Jacob, Stephen Lang, Michael Madore, Robert Narracci, Dennis Oppenheim, Austin Schull, Marco Scoffier, The Lab Gallery, New York, exhibited Crack In The Air | ||
| Dove Bradshaw and Ian Schals, Stalke Gallery, Roskilde, Denmark, exhibited Self Interest, They Were and Went, Limited Edition Box, 2/0, Material/Immaterial |
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| Bottle Art Contemporary Art and Vernacular Tradition, Curated by Richard Klein, artists: Joseph Beuys, Dove Bradshaw, Bethany Bristow, Moyra Davey,Tony Feher, Howard Finster, Phil Frost, David Hammons, Mona Hatoum, Damien Hirst, Donald Lipski, Whitfield Lovell, Josiah McElheny, Barry McGee, Sean Mellyn, Olivia Parker, Maria Proges, Rosamond Purcell, Charles Ray, Alison Saar, Arlene Shechet, Claude Simard, Kiki Smith, William Wegman, Jil Weinstock, The Aldrich Museum, Ridgefield, CT, exhibited Self Interest and ‘O’ Dress | ||
| Works from The John Cage Collection, The Museum of Contemporary Art, Roskilde, Denmark, exhibited Ear Witness (painting on vellum) and Without Title [carbon Removals] | ||
| 2003 | The Invisible Thread: Buddhist Spirit in Contemporary Art, artists: Marina Abramovic, William Anastasi, Jill Baroff, Xu Bing, Dove Bradshaw, James Lee Byars, John Cage, Top Changtrakul, Long-bin Chen, Lewis deSoto, Louise Fishman, Tom Friedman, Joe Fyfe, Richard Gere, Max Gimblett, Andrew Ginzel, John Giorno, Morris Graves, Alex Grey, Nancy Haynes, Jene Highstein, Kenro Izu, Therese Lahaie, Shu-Min Lin, John Daido Loori, Roshi, Adelle Lutz, Tri Huu Luu, Piero Manzoni, Agnes Martin, Chris Martin, Thomas Merton, Meredith Monk, Frank Moore, Mariko Mori, Stephen Mueller, Judith Murray, Isamu Noguchi, Jimmy Ong, Yoko Ono, Nam June Paik, Ad Reinhardt, Arlene Shechet, Chrysanne Stathacos, Pat Steir, Hiroshi Sugimoto, Philip Taaffe, Tattfoo Tan, Kazuaki Tanahashi, Hoang Van-Bui, Bill Viola, Nicholas Vreeland., Minor White, Terry Winters, curated by Robyn Brentano, Roger Lipsey and Lilly Wei, Snug Harbor NYC, exhibited Negative Ions II | |
| THE RECURRENT, HAUNTING GHOST: Reflections on Marcel Duchamp in Modern and Contemporary Art, Francis M. Nauman Fine Art, New York, exhibited Performance, Limited Edition Box, 2/0 | ||
| Topoi of Nature, artists: Dove Bradshaw, Ulrich Erben, Paul-Arnaud Gette, Jon Sheltan, curated by Stephanie Hering, Volckers & freunde Gallery, Berlin, exhibited Series Nothing, II, Crack In the Air, Negative Ions II | ||
| Frankenstein, 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; curated by Ethan Sklar, Tanya Bonakdar Gallery, New York, exhibited Negative Ions II | ||
| Selections from the LeWitt Collection, curated by Sol LeWitt, New Britain Museum of American Art, New Britain, CT, exhibited Angles and Without Title (copper, acetic acid) | ||
| White Box Benefit Auction, James Cohan Gallery, New York | ||
| 2002 | Memorial Concert For John Cage, 1912- 1992, Composers/musicians: Emanuel Dimas De Melo Pimenta, Peter Zummo, Fast Forward; Performances: William Anastasi, Ledger, Dove Bradshaw, Fire, Gary Tatinsian Gallery, New York | |
Charles Carpenter Collection, curated by Richard Kline, The Aldrich Museum, Ridgefield, CT, exhibited Contingency painting, Without Title [two Carbon Removals], Generation |
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| 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, exhibited Angle paintings | ||
| blobs, wiggles and dots, webs and crustillations, curated by Lucio Pozzi, The Work Space, New York, exhibited WIthout Title (cement paintings) | ||
| jesus-c-oddsize, curated by Kirsten Dehlholm, Nikolaj Contemporary Art Center, Copenhagen, exhibited Medium | ||
| Benefit for the Drawing Center, From Formerly Exhibited Artists, The Drawing Center, New York | ||
| Collaborations, Dieu Donne, New York, exhibited Equivalents | ||
| Mattress Factory 25th Anniversary Auction, Mattress Factory, Pittsburgh | ||
| Postcards from the Edge, Benefit for Creative Time, New York, James Cohan Gallery, New York | ||
| Whitebox Benefit, curated by Juan Puntes, Whitebox Gallery, New York | ||
| 2001 | I love New York, World Trade Center Benefit, Gary Tatinzian Gallery, New York, (exhibited Polaroid negative Portrait with Anastasi) | |
| Art Walk NY, Benefit for the Coalition of the Homeless, honoring Louise Bourgeois, chaired by Peter Jennings, Metropolitan Pavilion, New York | ||
| Anastasi, Bradshaw, Cage, curated by Marianna Bech and Dove Bradshaw, Museum of Contemporary Art, Roskilde, Denmark, exhibited Material/Immaterial stones for the first time and 25 other works including, paintings, works on paper, relief | ||
| Renaissance Press, Spheris Gallery, New York, exhibited Medium and Double Negative | ||
| Century of Innocence, The History of the White Monochrome, curated by Bo Nilsson, artists: 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, among others, Rooseum Contemporary Art Center, Malmo, Sweden, exhibited Boundary II (titanium dioxide painting) | ||
| 2000 | Century of Innocence, The History of the White Monochrome, curated by Bo Nilsson, Liljevalchs Konstall, Stockholm, (exhibited Boundary) | |
| Hindsight/Fore-sight: Art for the New Millennium, curated by Lyn Bolen Rushton, Artists: Susan Bacik, Dove Bradshaw, Tim Curtis, Agnes Denes, Rosemarie Fiore, Ann Hamilton,Michael Mercil, Todd Murphy, Dennis Oppenheim, Beatrix Ost, Luscio Pozzi, among others, Bayly Art Museum, University of Virginia, Charlottesville, Virginia, exhibited Notation II (soapstone boulder, copper) and Waterstone (limestone cube, separatory funnel, water) | ||
| Destruction/Creation, curated by Rosa Essman and Adam Boxer, artists: Abramovic, Acconci, Anastasi, Arman, Bradshaw, Burden, LeWitt, Lichtenstein, Matta-Clark, Mendieta, Tinguely, Warhol and others. Ubu Gallery, New York, exhibited Indeterminacy XXVIII (vermont marble cube and pyrite) | ||
| Reconstructions, curated by 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, exhibited Contingency Painting | ||
| Recent Acquisitions, curated by Innis Schumacher, The Philadelphia Museum of Art, Philadelphia, exhibited Without Title (Carbon Removals), 1992 | ||
| Art on Paper, The 36th Art On Paper Exhibition, curated by Ron Platt and Nancy Doll, Weatherspoon Art Museum, Greensboro, NC | ||
| Ethereal and material, curated by 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, exhibited Equivalents I and II (silver, liver of sulfur on beeswax on linen paper diptych) | ||
| Fluid Flow, curated by Valerie McKensie, Graham Modern, New York, exhibited Notation I (copper over wood) and 2v0, 1971 (glass and acetone) | ||
| Postcards From the Edge, Benefit for Visual Aide, New York | ||
| 1999 | Renaissance Press 13th Anniversary Exhibition, curated by Paul Taylor, John Stevenson Gallery, New York, exhibited Double Negative, 1993 (photogravure) | |
| Primary Source, curated by Regina Coppela, Artists: Roger Ackling, Dove Bradshaw, Sandy Gellis. University of Massachusetts, Amherst, MA, exhibited Indeterminacy [book], 1995, Indeterminacy IX (Vermont marble, pyrite), Indeterminacy XI (Vermont marble, pyrite) and Negative Ions I | ||
| Merce Cunningham Fifty Years, La Fundacio Antoni Tapies, Barcelona. Traveled to: Fundaçao De Seralves, Porto, Portugal; Castello Di Rivoli, Italy; Museum Moderna Kunst, Stiftung Palais Lichtenstein, Vienna, Andy Warhol, Jasper Johns, William Anastasi, Robert Rauschenberg, Morris Graves, Dove Bradshaw, among others, exhibiting collage painting for Fabrications, 1987 and costumes for Points In Space, 1985 | ||
| Phenotypology, curated by Maureen McQuillen, Hallwalls, Buffalo, exhibited Passion (copper embeded in wall treated with acetic acid) and ZN + S (vial of zinc and sulfur, acetic acid) | ||
Nature/Process, curated by 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, exhibited Contingency Painting and Book I, Negative Ions I, Passion |
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| Manna Benefit for the Jacques Marchais Museum of Tibet, curated by Elizabeth Rogers, White Box Gallery, New York | ||
| Benefit, Sculpture Center, New York | ||
| Summer Group Exhibition, Larry Becker Contemporary Art, Philadelphia | ||
| 1998 | Re:Duchanp / Contemporary Artists Respond to Marcel
Duchamp’s Influence, curated by Mike Bidlo; Abraham Lubelski Gallery,
New York, exhibited Performance (Metropolitan Museum post card) |
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| Works on Paper, curated by Jacqueline Brody, Dieu Donne, New York, exhibited Equivalents | ||
| Into Focus: Art on Science, curated by 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, exhibited Negative Ions I | ||
| Pieces, Curated by Silvia Netzer, 128 Gallery, New York, exhibited Notation I and Without Title (copper bar, acetic acid) | ||
| Dove Bradshaw, William Anastasi, Margrethe Sorensen, Torbin Ebbeson, curated by Sam Jedig, Stalke Gallery, Copenhagen, première Without Title (cement paintings), Ground, 2v0 | ||
| 1997 | From Time to Time, curated by Sarah Slavick and Kevin Rainey, Iris and Gerald B. Cantor Art Gallery, Artists: William Anastasi, Z.B. Armstrong, Sarah Babst, Dove Bradshaw, Joyce Burstein, Mario Laplante, John O'Reilly, College of the Holy Cross, Worcester, Massachusetts, exhibited Zn + S +CH3OOH, Contingency Paintings and Book I | |
| 10th Anniversary Exhibition, Stalke Gallery, Copenhagen, exhibited Passion | ||
| Artists’ Books, curated by Ann Gaulick, artists: Anastasi, Baldessari, Bourgeois, Bradshaw, Brassai, de Kooning, Johns, Kelly, Matisse and Ryman, Baumgartner Galleries, Washington, DC, exhibited Contingency [Book I] | ||
| 1996 | Charles Carpenter Collection, curated by 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 and The Whitney Museum of American Art, New York in 1997, (exhibited Contingency Painting and Without Title [Carbon Removals]) | |
| Time Wise, curated by Karen Kuoni, artists William Anastasi, Dove Bradshaw, Wolfgang Laib, The Swiss Institute, New York, exhibited Indeterminacy [film], 2v0 | ||
| 1995 | Time, Memory and the Limits of Photography, curated by Ellen Handy, Center for Photography at Woodstock, Woodstock, New York, exhibited Plain Air Boxed Edition of Silverprints | |
| Vital Matrix, curated by Jane Hart, Domestic Setting, Los Angeles, première Zn + S +CH3OOH | ||
| depart, curated by Bernard Toale, Bernard Toale Gallery, Boston, exhibited Medium | ||
| 1994 | Indeterminacy with Blind Drawings by William Anastasi, Werner Kramarsky, New York concurrent with: | |
| Contingency with Autobodyography by William Anastasi, Sandra Gering Gallery, New York | ||
| Painting in Transition, curated by Barry Rosenberg; artists: Helen Aylon, Dove Bradshaw, Jane Laudi, The Aldrich Museum, Ridgefield, Connecticut, exhibited Contingency Painting and Book I | ||
| 1993 | William Anastasi Drawing Sounds: An Installation in Honor of John Cage, curated by 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, exhibited half hour drawing with micro-cassette recording of its making | |
| The Return of the Cadavre Equis, curated by Anne Philbin, The Drawing Center, New York; Traveled to: Corcoran Gallery of Art, Washington, DC; Santa Monica Museum of Art, Santa Monica; Forum for Contemporary Art, St. Louis; The American Center, Paris, The American Center, Paris, exhibited drawing with William Anastasi and Merce Cunningham | ||
| Rolywholyover Circus (an exhibition based on the life and work of John Cage), curated by John Cage and Julie Lazar, 50 Artists selected by John Cage beginning with Marcel Duchamp and Thoreau, 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, exhibited six works: Contingency Painting, two Contingency Works on paper, Boundary I Painting, and two Carbon Removals. | ||
| Concurrencies II, curated by Lucio Pozzi, William Patterson College, New Jersey, | ||
| Summer Group Show, curated by Sandra Gering, Sandra Gering Gallery, New York, exhibited Ag/K2SX + K2S203 | ||
| Group Exhibition, Montgomery Glasoe Fine Art, curated by Kim Montgomery and Carolyn Glasoe, Minneapolis, Minnesota, (exhibited Boundary II) | ||
| 1992 | Work From The Permanent Collection, The ‘80’s Room (Nothing, Series, 1989), curated by Charles F. Stuckey, The Art Institute of Chicago, exhibited IV Series, Nothing | |
| The Feminine in Abstract Art, curated by Shirley Kaneda, artists: Dove Bradshaw, Cora Cohen, Mary Heilman, Shirley Kaneda, Jonathan Laskar, The Sandra Gering Gallery, New York, exhibited: A man in a desert thinking he is walking in a straight line always bears right | ||
| Concurrrencies, curated by Lucio Pozzi. Grace Borgenicht Gallery, New York, exhibited Medium | ||
| Drawn in the ‘90’s, curated by Joshua P. Smith, Katonah Museum of Art, Katonah, New York, exhibited Crack In the Air, Full (on paper). | ||
| 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, (exhibited 12 Contingency Works on Paper) | |
| How to Use Small Areas in a Dozen Different Ways to Bring a Room to Life, curated by Bogdan Perzryuski, Arte Museum, Austin, Texas | ||
| New York Diary: Almost 25 Different Things to See, curated by Ryzsard Wasco and Zdenka Gabalova, PS1 Contemporary Art Center, LIC, New York, exhibited Plain Air, 1969/1991, installation with live birds | ||
| Selections / Winter ’91, curated by Anne Philbin, The Drawing Center, New York, exhibited four Contingency Works on Paper, 1985-1991 | ||
| 1990 | Drawings of the Eighties Part II (From the Permanent Collection), curated by Bernice Rose, The Museum of Modern Art, New York, exhibited Without Title, 1986, (children's painting on vellum) | |
| Anastasi, Bradshaw, Cage, Marioni, Rauchenberg, Tobey,
curated by Dove Bradshaw, Sandra Gering Gallery, New York, exhibited Contingency
on Paper and Without Title [two Carbon Removals] |
||
| 1989 | Lines of Vision, curated by Dr. Judy K. Collishan Van Wagner, Blum Helman and C.W. Post, New York, exhibited Without Title (collage on wood) | |
| Chaos, curated by Laura Trippi, The New Museum, New York, exhibited Without Title (silver/liver of sulfur on vellum skin) | ||
| 1988 | Benefit for Merce Cunningham Dance Company, curated by David Vaughan, Blum Helman, New York, exhibited Ear Witness (children's painting on vellum) | |
| Spring Group Show, curated by Karen Bravin, Lang and O’Hara Gallery, New York, exhibited Without Title (painting on vellum) | ||
| Benefit for the Contemporary Performance Arts Foundation, curated by John Cage and Jasper Johns, Castelli Gallery, New York, exhibited WIthout Title [Carbon Removal], 1981 | ||
| 1987 | Benefit for AIDS, curated by Susan Lorence and Bob Monk, Lorence Monk Gallery, New York, exhibited Without Title (oil and graphite painting on vellum) | |
| Merce Cunningham and His Collaborators: William Anastasi, Dove Bradshaw, John Cage, Bob Rauschenberg, Andy Warhol, Bruce Nauman, Mark Lancaster, Morris Graves, Lehman College Art Gallery, City University of New York, exhibited design for Fabrications and costume design for Points In Space | ||
| On Line, An Exhibition of Drawings, curated by Billy Biondi; artists: William Anastasi, Joe Andoe, Dove Bradshaw, Jennifer Bartlett, Larry Carrol, Sherrie Levine, Joseph Nechvatal, Karen Shaw, Meg Webster, among others; City Without Walls, Newark, New Jersey | ||
| 1985 | Group, Lorence Monk Gallery, New York, exhibited Without Title (six works, collage on wood) | |
| Science Museum, Koran-Sha Company, Tokyo, Riverstones (frottage on handmade paper) | ||
| 1984 | Benefit for Merce Cunningham Dance Company, curator: Jasper Johns, Castelli Gallery, New York, exhibited Without Title [Carbon Paper], 1981 | |
| Ann Ryan, Dove Bradshaw (Group), curated by Ann Lauterbach, Joan Washburn Gallery, Soho, New York, exhibited Without Title, 1983 ( six collages on wood) | ||
| 1983 | Group Exhibition, curated by Ann Lauterbach, Joan Washburn Gallery, Soho, New York, exhibited Without TItle, 1983 (collages on wood) | |
| 1982 | Exhibition in Honor of John Cage’s Birthday: artists: Anastasi, Bradshaw, Cage, curated by Judith Pisar, The American Center in Paris, exhibited Without Title [six Carbon Removals], 1981-2 | |
| 1981 | 8 Painters, curated by Dove Bradshaw, artists: Jon Abbot, William Anastasi, Dove Bradshaw, Dana Gordon, Bruce Halpin, Carl Kielblock, Theodoros Stamos, Douglas Vogel, The Ericson Gallery, New York, exhibited Without Title [four Carbon Removals]and Without Title (miniature white paintings) | |
| Group Show, curated by 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, exhibited Without Title [Carbon Removals] | ||
| 1980 | Small Works, Open Competition, New York University, New York, exhibited (A)muse (eye glasses, photographs) | |
| 1979 | Sound, curated by Alanna Heiss, PS1 Contemporary
Art Center, LIC, New York, exhibited in collaboration with William Anastasi,
Without Title (plastic silver frame, drawing, tweeter balls) |
|
| Fluxus’ New Interpreters, curated by Peter Frank, Interart Gallery, New York, exhibited Wrapped (brown paper) and Cliché | ||
| 1978 | Couples, curated by Alanna Heiss; artists: Klaus Rinke and Monika Baumgartle, William Anastasi and Dove Bradshaw, Bernard and Hilla Becker, Nam June Paik and Shegeko Kabuta, the Harrisons, PS1 Contemporary Art Center, LIC, New York, exhibited Without Title (folded vellum works in lead frames) | |
| 1977 | New Talent, curated by Allan Stone, The Allan Stone Gallery, New York, exhibited Chairs (porcelain sculptures) | |
| Two Person Exhibition, curated by Terry Davis, Graham Modern, New York, exhibited Last Year's Leaves (drawings of leaves) | ||
| Fendrick Gallery, Washington, DC, exhibited Chairs (porcelain sculptures) | ||
| 1976 | New Talent, curated by Allan Stone Gallery, New York, Chairs (porcelain sculptures) |
2009
ONE, William Anastasi, Dove Bradshaw, Melissa Kretschmer, Janet Passehl, Soren Dalgaard, Nikolaj Recke, Margrete Sørensen, Kristian Hornsleth
ONE More: Dedicated to Sol LeWitt, with 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
2008
ONE More: Dedicated to Sol LeWitt, with 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, with Anastasi, Andre, Barry, Bradshaw, Hafif, Highstein, Kretschmer, LeWitt, Nonas, Wagner, BjÖrn 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
Anastasi, Bradshaw, Cage, Marioni, Rauschenberg, Tobey, Sandra Gering
Gallery, New York
1981
8 Painters, with Jon Abbot, William Anastasi, Dove Bradshaw, Dana Gordon,
Bruce Halpin, Carl Kielblock, Theodoros Stamos, Douglas Vogel, The Ericson Gallery,
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: John Cage; Design, Costumes and Lighting: invited Carl Kielblock | |
| August Pace, 1989, World première, City Center, New York, Music: Michael Pugliese; Design, Costumes and Lighting: invited Sergei Bugaev (Afrika) | |
| Events, 1989, Grand Central Station, New York. Music: David Tudor; Costumes. | |
| 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: John Cage; Design: William Anastasi; Bradshaw: Costumes for stage. | |
| Points in Space, BBC, London, 1986. Costumes for video. Wins Prague d’or [gold prize], at the 30th International Television Festival, 1987. | |
| 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: John Cage; Design, Costumes and Lighting for stage. | |
| Deli Commedia, 1985, Merce Cunningham Studio, New York. Music: Pat Richter; Costumes for videos. | |
| 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. | |
| 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, |
| Time Matters, text by Charles Stuckey, Pierre Menard, Cambridge, MA |
| Time & Material, text by Charles Stuckey, Senzatitolo, Rome |
| The Art of Dove Bradshaw, Nature, Change and Indeterminacy, Thomas McEvilley; including republication of "John Cage and Thomas McEvilley: A Conversation, 1992", Mark Batty Publisher, West New York, NJ, 2003. |
| Anastasi Bradshaw Cage, Accompanying a three person exhibition; "we are beginning to get nowhere” interview of William Anastasi and “Still Conversing with Cage” interview of Dove Bradshaw with Jacob Lillemose: Karl Aage Rasmussen, essay, The Museum of Contemporary Art, Roskilde, Denmark, 2001. |
| Dove Bradshaw / Jan Henle, Introduction by Julie Lazar, “Dove Bradshaw” by Mark Swed, afterward byBarbara Novak; “Jan Henle: Sculpture of No Thing” by Nancy Princenthal, The Museum of Contemporary Art, Los Angeles, 1998. |
| Dove Bradshaw: Inconsistency, Quotes by Tao Te Ching, Henry David Thoreau, John Cage, Franze Kafka selected by the artist, Sandra Gering Gallery, New York and Stalke Gallery, Copenhagen, 1998. |
| Dove Bradshaw; Indeterminacy, Anne Morgan, essay, Sandra Gering Gallery, New York and Stalke Kunsthandel, Copenhagen, 1997. |
| Dove Bradshaw, Contingency and Indeterminacy [Film], Selected quotes about the artist, Stalke Kunsthandel, Denmark, 1996. |
| Dove Bradshaw, “Living Metal” by Barry Schwabsky, Pier Gallery, Stromness, Orkney, Scotland, 1996. |
| Dove Bradshaw: Works 1969-1993, "John Cage and Thomas McEvilley: A Conversation", Sandra Gering Gallery, New York, 1993, |
| 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 |
| The Missing Peace, Artists & The Dalai Lama, Earth Aware Editions, San Rafael, CA, 2006, salt, half heard in honor of the Dalai Lama |
| 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 |
| The Invisible Thread: Buddhist Spirit in Contemporary Art, (Negative Ions II) "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. |
| Conversing With Cage, Second Edition, Richard Kostelanetz, Routledge, New York and London, 2003, pp. 200-2002, 216-217. |
| Sitting Jefferson: Contemporary Artists Interpret Thomas Jeffeson's Legacy, (Waterstone, Notation II), Jill Hartz, editor, University of Virginia Press, Charlottesville and London, 2003, p. 38. |
| Art and Artifact, The Museum As Medium, (Performance), James Putnam, Thames & Hudson, London, 2001, pp. 159, 172. |
| The Century of Innocence, The History of the White Monochrome, (Boundary), Rooseum-Center for Contemporary Art, Malmo, Liljevalchs Konsthall, Stockholm, 2000, pp. 36,37. |
| ETHEREAL and material, (Equivalents), Douglas Maxwell, introduction, Dede Young, essay, Delaware Center for the Contemporary Arts, Delaware, 2000, p.10. |
| Sculpture In The Age Of Doubt, Thomas McEvilley, "John Cage and Thomas McEvilley: A Conversation", Allworth Press, New York, 1999, Penultimate Chapter. |
| Installations MF Mattress Factory, 1990/1999, (Plain Air), University of Pittsburgh Press, Pittsburgh, PA, 1999, pp. 26, 27, 148 |
| Merce Cunningham: Fifty Years, Aperture Foundation, New York, 1997, pp. 226, 227 228, 231, 232, 236, 243, 257. |
| From Time To Time, (Contingency), Guest-curated by Sarah Slavick and Kevin Rainey, Iris and B. Cantor Art Gallery, College of the Holy Cross, Worcester, MA, 1997, pp. 16, 17, 27, 31. |
| Odyssey of a Collector: A Memoir by Charles Carpenter, Carnegie Museum of Art, Pittsburgh, PA, 1996, pp. 81, 136-139. |
| New Art On Paper, (Carbon Removals), Philadelphia Museum of Art, Hunt Manufacturing Collection, 1996, pp. 18-19, 84. |
| A Vital Matrix, (Zn +S), Domestic Setting, Los Angeles, CA, 1995, pp. 1, 5. |
| Rolywholyover A Circus, (Contingency), John Cage, Museum of Contemporary Art, Los Angeles, and Rizzoli, New York, 1993. |
| Blast 3; Remaking Civilization, The X-Art Foundation, 1993, including multiple Indeterminacy, Danger: Do Not Touch, Ingest Or Inhale |
| Blast: The Spatial Drive, The X Art Foundation, 1992, including multiple Ag + K2S203 |
| Gulliver’s Travels, (Medium), Galerie Sophia Ungers, DuMont Buchverlag, Koln, Germany, 1992, p. 36. |
| Carnegie International, (Contingency I-XII), Carnegie Museum, Rizzoli, Carnegie Museum, 1991, p.62. |
| Anastasi Bradshaw Cage Marioni Rauschenberg Tobey, (Contingency, Carbon Removals), "...imitating nature in her manner of operation..., John Cage interviewed by Richard Kostelanetz, Sandra Gering Gallery, New York, 1990, pp. 3-4, 6, 11. |
| Lines of Vision, Drawings by Contemporary Women, (Collage on wood), Dr. Judy K. Collishan Van Wagner, Hudson Hills Press, New York, 1989, p. 27. |
| Strange Attractors; The Spectacle of Chaos, (Spotted Cow: Vellum), The New Museum Exhibition catalogue, Chicago, 1989. |
| Art Against Aids, (Without Title: oil on vellum) by Stephem Reichard amd Anne Livet, the American Foundation for Aids Research, New York, 1987, p.147. |
| Contacts Communicating Interpersonally, (30% [sic] Better"), “She knows the Value of a Smile”, Teri Kwal and Michael Gamble, Random House, New York, 1983, p. 116. |
| Arteder Flash 82, (30% [sic] Better), Feria Internacionale de Muestra de Bilbao, Bilbao Muestra Internacional de Obra Graphica, Bilboa, 1982, p. 885. |
| X, Writings ’79-’82, James Joyce, Marcel Duchamp, Erik Satie: An Alphabet, (Bradshaw, a "letter"), John Cage, Wesleyan University Press, Middletown, Connecticut, pp. 84-85.For The Birds, Sixth Interview, “I feel very close to conceptual art...” by John Cage in conversation with Daniel Charles, Marion Boyars Boston: London, 1982, p. 157. |
| Are You Experienced?, (Performance), Bleus, Vrije Universitiet, G.B./ Administration Center, Kiekplein, Brussels, Belgium, 1981, p. 14. |
| Windows at Tiffany’s The Art of Gene Moore, (Glass sculptures), Judith Goldman with commentary by Gene Moore, Harry N. Abrams Inc., New York, 1980, p. 124. |
| The Harvard Advocate, First Issue, (illustration of plain air accompanying review of the new publication of Dialogues with Marcel Duchamp by Pierre Cabanne), Summer, 1972, p. 88. |
| Castro, Jan Garden, Sculpture
Magazine, April, “Dove Bradshaw”,
pp. 69-70 (review of Contingency at BjÖrn Ressle
Gallery, New York and the Missing Peace, Artists and the Dalai Lama, Rubin
Museum of Art, New York.) |
|
| Johnson, Ken, The New York Times, Last Chance, Friday, January 25, 2008, "One; ten artists / ten materials," BjÖrn Ressle Gallery, New York | |
| The New Yorker, January 28th, 2008, Galleries Uptown, "1: Dedicated to Sol LeWitt", BjÖrn Ressle Gallery, New York | |
| Johnson, Ken, The New York Times, Hunting a Tribe of Minimalists on the Streets of the Upper East Side, ONE;: ten artists / ten materials, BjÖrn Ressle Gallery, New York | |
| Bellel, Zeva, Luxury Culture On-line Magazine, April 19, 2007, Dove Bradshaw, Bjorn Ressle Fine Art, New York (Contingency, Waterstone, Crack in the Air, Series II, Nothing 2, Quick Construction) | |
| Bellel, Zeva, Luxury Culture On-line Magazine, April 10, 2007, 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, (Six Continents) | |
| Vine, Richard, Art In America, January 2007, Report From Gwangju (Gwangju Biennale), pp 71-72 (photograph and text Six Continents ). | |
| Michael J. Fressola, Staten Island Sunday Advance, Arts & Ideas, White Gold, Salt Goes Beyond The Shaker at the Noble Maritime Collection, (photographand review), July 16, 2006, E | |
| Knight, Christopher, The Los Angeles Times, Around The Galleries, Fresh, original voices in LA: Six Continents (photograph and review), Los Angeles, October 28, 2005. | |
| DeTan, S. A., Coagula Art Journal, DOVE BRADSHAW , 6 VOLCANOES AND THE WHOLE WIDE WORLD IN A DROP OF WATER, (Six Continents, photograph and review) Issue number # 78, February 2006. | |
| Frank Peter, LA Weekly, Pick of the Week, (Six Continents, photograph and review), November 11-17, 2005. | |
| Zlotnick, Diana, Newsletter On the Arts, Salt of the Earth, NOTA, (Six Continents, photograph and review), October, 2005 | |
| Dea, Cynthia, Calendar Weekend, Los Angeles Times, Galleries: Pure Salt of the Earth, (Six Continents, photograph and review), Thursday, October 26, 2005. | |
| Sozanski, Edward J., Philadelphia Inquirer, Weekend, Art/ Museums and Galleries Art, Salted Sculptures (Six Continents and Angles at Larry Becker Contemporary Art, review), July 1, 2005, p.W24. | |
Yazdani, Mehrdad, The Guardian, University of California at San Diego, Art Inspired by Accident (Anastasi Bradshaw Cage Cunningham, photograph and review), 2005. |
|
| Latter, Ruth, The Daily Progress, Charlottesville, VA, February 17th, 2005, Concept was innovative, then and now (Anastasi Bradshaw Cage Cunningham at University Art Museum, University of Virginia, review and reproduction), p. D2. | |
| Morgan, Anne Barclay, Sculpture Magazine, September 2004, Buddhism and Contemporary Sculpture (Negative Ions II, review) The Manifestation of Awareness, p. 48. |
|
| Koploz, Janet, Art In America, May 2004, Illustrated article Between Science and Poetry, p. 150-51. | |
| Rice Sallyport, Fall 2004, Booknotes, The Art of Dove Bradshaw, Nature Change and Indeterminacy, Thomas McEvilley, Rice University, Houston, Texas, p. 41. | |
| Peterson, Debra, The St. Louis Post—Dispatch ('O' Dress for the St Louis Museum Dada Ball, review), March 22, 2004. | |
| McElroy, Joseph, Shambahala Sun, A Poetry of Transience, McElroy reflects on the works in “The Invisible Thread: Buddhist Spirit in Contemporary Art” an Exhibition at the Snug Harbor Cultural Center (Negative Ions II), Staten Island”, March 2004, p. 65. | |
| Fressola, Michael, The Staten Island Sunday Advance, Noted Poet to Appear at Benefit (Negative Ions II), February 15th, 2004. | |
| Kamiaru, Staten Island Source, The Invisible Thread (Negative Ions II), cover story, 2000, pp. 8-14. | |
| Fressola, Michael, The Staten Island Sunday Advance, Good Buzz, No Yoko at Art Opening (Negative Ions II), October 5, 2003. | |
| Fressola, Michael, Staten Island Advance, The Invisible Thread (Negative Ions II), February 26th, 2003, cover and p. E2, photograph and text. | |
| Krall, L.Brandon, New York Arts, Celebrate John Cage (Memorial concert, installation and performance of Infinity at Gary Tatinsian Gallery, NY, article), January, 2003, p. 25. | |
| Bradshaw, Dove, New Observations, The Cultural Traveler’s Guide, Vol. 128, Spring/Summer, 2001, Project: Indeterminacy [film] still and artist's text, New York, p.35. | |
| Newhall, Edith, New York, Chelsea Exhibitions: Waterstones by Dove Bradshaw, (at Stark Gallery, review and reproduction), March, 26th, 2001. | |
| Hornung, Peter Michael, Politiken, Art Without Intentions (Anastasi Bradshaw Cage at Word Sound Image Museum, Roskilde, Denmark, review and reproduction), January 13, 2001. | |
| Sandbye, Mette, Berlingske Weekendavisen, The Music of Chance (Anastasi Bradshaw Cage, review), January 12-18, 2001. | |
| Sozanski, Edward J., The Philadelphia Inquirer, Environmental Expressionism (Waterstones at Larry Becker Contemporary Art, review), April 28, 2000 | |
| Winn, Alice, Pittsburgh City Paper, Art Takes Flight on the Wings of Dove Bradshaw (Negative Ions I and 2/0 at Mattress Factory Museum, review and reproduction), June 16-23, 1999. | |
| Lieberman, Claire, Sculpture Magazine, Stone: Mystery or Malaise (Indeterminacy [stones] at Sandra Gering, review and reproduction), February, 1999, p.30. | |
| Chattopadhyay, Collete, Sculpture Magazine, Dove Bradshaw at LA MOCA (review and reproduction), January-February, 1999, pps. 59-61. | |
| McDonough, Tom, Art in America, Dove Bradshaw at Sandra Gering and Linda Kirkland (review and reproduction), November, 1998. | |
| Cahill, Timothy, Albany Times Union, Where Art Meets Science: Union College exhibit takes a look at the culture of science (Negative Ions I in Into Focus: Art on Science", review and reproduction), October 4, 1998. | |
| Wright, Peg Churchill, Daily Gazette, Exhibition At Union College Brings Science Into Focus (Negative Ions I, review and reproduction), September 10, 1998. | |
| Politiken, Forgaengelighed, Guilty Marks at Stalke Gallery (review and reproduction), Copenhagen, June 18, 1998. | |
| Frank, Peter, LA Weekly, Art Picks of the Week: Dove Bradshaw / Jan Henley (Contingency and Indeterminacy at Dove Bradshaw / Jan Henle, LAMOCA, review), Eileen Cowen, October 16-22, 1998. | |
| Swed, Mark, The Contemporary (Museum of Contemporary Art, Los Angeles, Publication), (Dove Bradshaw / Jan Henle, LAMOCA, text and reproduction), Summer, 1998. | |
| Wilson, William, Los Angeles Times, Probing the Nature of Contemporary Art (Dove Bradshaw / Jan Henle, LAMOCA, review), August 24, 1998, p. f 29. | |
| New York Contemporary Art Report, Dove Bradshaw (Irrational Numbers at Sandra Gering and Linda Kirkland, reproductions and text), Vol. I, Issue II, June 1998. | |
| Johnson, Ken, The New York Times, Art Guide: Dove Bradshaw (Irrational Numbers at Sandra Gering and Linda Kirkland, reviews), June 19, 1998. | |
| Cohen, Mark Daniel, Review, Acts of Will? Dove Bradshaw’s Irrational Numbers at Sandra Gering (review), June 15, 1998. | |
| Brody, Jacqueline, Art on Paper, Dove Bradshaw: 2v0 (Introducing New Multiples, review and reproduction), September-October, 1998. | |
| Kramer, Hilton, New York Observer, Three (sic) Independent Collectors Undercut Whitney Idiocy, (Charles Carpenter Collection, review), January 27, 1997. | |
| Brody, Jacqueline, On Paper, Vol. 1, No.4, Dove Bradshaw, Zn + S + CH3OOH (Introducing New Multiples, review and reproduction), March-April, 1997. | |
| Nigrosh, Leon, The Worcester Phoenix, “Art in Good Time: From Time to Time" (Contingency Paintings and Book, review and reproduction ), October 3, 1997. | |
| Tracy, Chris, The Crusader, From Time to Time (Contingency and Zn + S + CH3OOH, review and reproduction ), The College of Holy Cross, September 27, 1997. | |
| Morgan, Anne Barclay, ARTnews, Dove Bradshaw at Sandra Gering, (Indeterminacy, review and reproduction), February, 1996, p.136. | |
| McEvilley, Thomas, Art Forum, “Rolywholyover, A (sic) Circus”, The Menil Collection (Contingency, review), April, 1995. | |
| Newhall, Edith, New York, Indeterminacy (Indeterminacy [stones] at Sandra Gering, review and reproduction), November 6, 1995. | |
| McLean, Duncan, Scottish Press, Change and Decay (Indeterminacy, Contingency and other works at Pier Arts Center, review), September 17th, 1995. | |
| Myers, George Jr., The Columbus Dispatch, Will Mighty Met Ever Put Out This Fire? (Performance [Fire Hose], article and reproduction), March 5, 1995. | |
| Stapen, Nancy, The Boston Globe, 90’s Drawing: Beyond Pushing Pencils (Crack In The Air at Katonah Museum of Art, review of ), December 27, 1993. | |
| Upshaw, Reagan, Art in America, Dove Bradshaw at Sandra Gering (Contingency, review and reproduction), November, 1993, p.122. | |
| Knight, Christopher, Los Angeles Times, Cage’s Circus, A Three-Ring Sensual Blast (Rolywholyover Circus at LAMOCA, review of Contingency and Boundary), 1993. | |
| Pinchbeck, Daniel, Art and Antiques, Openings (Contingency at Sandra Gering, review and reproduction), March, 1993. | |
| McEvilley, Thomas, ArtForum, In the Form of a Thistle (John Cage In Memoriam), October, 1992. | |
| Raynor, Vivian, The New York Times, Memorable Images In An Anthology of Drawings (Crack In The Air [thorn] at Katonah Museum, review), July 5, 1992. | |
| Russell, John, The New York Times, The Secret Life of Art is Led in Drawings (Full and Crack In The Air [thorn], review), June 28, 1992. | |
| Brody, Jacqueline, Print Collectors Newsletter, Vol. XXIII, No. 4, Dove Bradshaw: Medium (introducing new prints, review and reproduction), September-October, 1992. | |
| The Downtown Resident, Vol.1, Number 3 (plain air at Sandra Gering, cover photograph), May 11, 1992. | |
| Artscribe, New York Diary: Almost Twenty-Five Different Things (plain air at PS 1, review), September, 1991. | |
| Quaroni, Grazia, Marie Claire, Le Donne dell’Arte (Gallerists and Their Artists article and reproduction, Gering/Bradshaw), October, 1991, p. 123. | |
| Morgan, Robert C., Arts Magazine, New York Diary (plain air at PS 1 review), October, 1991, p. 81. | |
| McEvilley, Thomas, Artforum, Plain Air (Plain Air at Sandra Gering, review and reproduction), April, 1990, p. 175. | |
| Rose, Matthew, Art and Antiques, Birdland, (Plain Air at Sandra Gering, review), January, 1990. | |
| Observer-Dispatch, Bradshaw Works Show Two Years off Experiments (Children’s Drawings at Utica College, Syracuse University, review and reproduction), Monday, September, 5, 1988. | |
| Utica College Tangerine, Gallery Graced by Bradshaw Oils (Children’s Drawings, review and reproduction), Friday, September 16, 1988. | |
| Durner, Leah, Stalke, Dove Bradshaw (Children’s Drawings at Stalke Gallery, Copenhagen, review), 1988. | |
| Schwartz, Eugene, Bottom Line, Guerrilla Tactics for Collectors in Today’s Emerging Art Market (recommendations), pp. 9-10, October, 1983. | |
| Frank, Peter, ARTnews, Carbon Removals (at Ericson Gallery, NY, review), February, 1981, p.174. | |
| Stern, Ellen, New York Magazine, Best Bets: Shooting Spray, (Spent Bullets at Aaron Faber, NY, review and reproduction), June 2, 1979, p. 53. | |
| Bradshaw, Dove, New York Magazine, Sister, Can you Spare a Smile? (50 % Better New York subway performance, article and reproductions), February 18, 1979, p. l7. | |
| Battcock, Gregory, Arts/Entertainment, De Kooning Bombs at the Goo Goo: Rhoades, Anastasi and Bradshaw discuss Couture (photograph and commentary), February, 1979. | |
| Little, Stuart, New York Magazine, A Piece of the Met (Performance, review and reproduction), p. 11, February 5, 1979. | |
| Black, Star, NXPL1982351, First of Six (Break to Activate at PS 1, photograph and review), October, 10, 1979. | |
| Nelson, Judith, New Yorker, Goings on About Town: Dove Bradshaw (Chairs at Razor Gallery, NY, review), 1977. | |
| Ellensweig, Allen, Craft Horizons, New Talent (Chairs at Razor Gallery, review and reproduction), June, 1977. | |
| The Soho News, Art Openings (Chairs at Razor Gallery, NY, review and reproduction of , April 7, 1977, p. 32. | |
| Grover, Donald, Craft Horizons, Exhibitions, Dove Bradshaw, (review of Chairs at Alan Stone, NY) June, 1975, p. 20. | |
| New Yorker, Goings on About Town: Dove Bradshaw (Reliquaries at Razor Gallery, review), 1975. | |
| Gruen, John, The Soho Weekly News, Five to See in Soho (Reliquaries at Razor Gallery, review and reproduction), January 30, 1975, p. 10. |
| 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 A Conversation between John Cage and Thomas McEvilley about the work, Mark Batty Publisher, LLP, West New York, New Jersey, 2003, Publication |
| 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 |
| Plain Air [cut out target], 2006, Edition of 4, self published, inkjet prints, collage, plate block of stamps, 5 3/4 x 7 inches KNCJIOPOD, [Body Elements], 2006, Unique piece, self published, inkjet prints, collage, plate block of stamps, 8 x 6inches ANASTASI BRADSHAW CAGE CUNNINGHAM, 2005, unnumbered edition, self published, poster, vynal, 30 x 24 inches, signed when acquired. Counterfeit Bill, 2005, Edition of 36, published by Stalke Gallery, printed by Niels Borch Jensen, photogravure, 15 x 10 inches, signed on face. Herself In the Element [Body Elements], 2005, Edition of 36, published by Stalke Gallery, printed by Niels Borch Jensen, photogravure,28 x 21 1/2 inches, signed on face. 2v0, 2005, Edition of 36, published by Stalke Gallery, printed by Niels Borch Jensen, photogravure, 18 x 21 inches, signed on face. Plain Air [Target], 2005, Edition of 36, published by Stalke Gallery, printed by Niels Borch Jensen, photogravure, 18 x 21 inches, signed on face. They Were and Went [skull and broken egg], 2005, Edition of 36, published by Stalke Gallery, printed by Niels Borch Jensen, photogravure, 9 x 7inches, signed on face. KNCJIOPOD, [Body Elements], 2005, Edition of 36, published by Stalke Gallery, printed by Niels Borch Jensen, photogravure, 28 x 21 1/2 inches, signed on face. (A)cclaimed Object, 2005, Edition of 36, published by Stalke Gallery, printed by Niels Borch Jensen, photogravure, 15 x 10 inches, signed on face. Didst unto Dudst, 2004, Edition of 4, self published, inkjet print on plateblock, 7 ¼ x 6 inches, signed on face. |
| Evelina in Central Park, 2004, Edition of 24, self published, inkjet print, 11 x 8 ½ inches, signed on verso. |
| KNCJIOPOD, 2004, Edition of 6, self published, silver gelatin print, 19 x 17 inches, signed on verso. |
| Oxygen, 2002, Edition of 6, self published, silver gelatin print, 19 x 12 inches, signed on verso. |
| dove bradshaw, 2004, Unlimited edition, published by Volume Gallery, Volume poster, in collaboration with Emanuel de Melo Pimenta, vynal, 36 x 24 inches, signed when acquired. |
| One of the Boys, Edition of 24, 2004, archival inkjet print, 13 x 9 inches |
| T For Two, Edition of 24, 2004, archival inkjet print, 13 x 9 inches |
| The Kid, Edition of 24, 2004, archival inkjet print, 13 x 9 inches |
| Boys Will be Beuys, Edition of 24, 2004, archival inkjet print, 13 x 9 inches |
| Tender Is Gravity, Edition of 24, 2004, archival inkjet print, 13 x 9 inches |
| The Waif, Edition of 24, 2004, archival inkjet print, 13 x 9 inches |
| And so and all, 2004, Edition of 10, self published, Durclear mounted in steel frame designed by the artist, 11 ¼ x 14 3/8 inches, signed on face. |
| They came and went, 2004, Edition of 10, self published, Durclear mounted in steel frame designed by the artist, 11 ¼ x 14 3/8 inches, signed on face. |
| Plain Air, 2004, Edition of 10, self published, Duraclear mounted in steel frame designed by the artist, 11 ¼ x 17 inches, signed on face. |
| Song of Which (Evelina kneeling), 2004, Edition of 24, self published, inkjet print, 6 ½ x 4 3/8 inches, signed on verso. |
| Song of Which (Evelina head bowed), 2004, Edition of 24, self published, inkjet print, 6 ½ x 4 3/8 inches, signed on verso. |
| Song of Which (Evelina kneeling cropped), 2004, Edition of 24, self published, inkjet print, 6 ½ x 4 3/8 inches, signed on verso. |
| Song of Which (Evelina crouched), 2004, Edition of 24, self published, inkjet print, 6 ½ x 4 3/8 inches, signed on verso. |
| And so. And all., 2003, Unlimited edition self published 37¢ cancelled postage stamp (9 7/8 x 1 ½ inches) on envelope with self published postcard of they were and went inside, unopened, 4 ¾ x 6 ½ inches, signed on return address. |
| And so. And all., 2003, Edition of 4, self published, 37¢ plate block of 20 postage stamps, 6 x 7 ¼ inches, signed on face. |
| Oxygen, 2003, Unlimited edition self published 37¢ cancelled postage stamp (1 ½ x 9 7/8 inches) on envelope with self published postcard of they were and went inside, unopened, 4 ¾ x 6 ½ inches, signed on return address. |
| Oxygen, 2004, Edition of 4, self published, 37¢ plate block of 20 postage stamps, 7 ¼ x 6 inches, signed on face. |
| DOVE BRADSHAW, 1969-2003, Deluxe Edition of 40, 4 APS, published by Mark Batty Publisher, LLC, West New York, New Jersey, 2003. Includes five editions: Drawing On Chance [Spent Bullet mounted on copper], 2003, 12 x 9 inches; Oxygen, 2002, digital print, 6 x 4 inches; Contingency, 1984-2002, silver, liver of sulfur, 3 ¾ inches x 3 ¾ inches; Indeterminacy, 1993, mercury in bottle, 2.5 x .75 inches diameter; Performance, Metropolitan Museum Postcard, 1976, offset print, 6 x 4 inches, Plain Air, 1969-1991, silver gelatin print, 3 x 2 inches. |
| INFINITY, 2002, Edition: Infinite, self published, spent bullet in velvet sack, 2 ¾ x 2 inches, signed when delivered. |
| Works for Poetry in Place, 2001, Edition of 13, 4 APS, published by Poetry in Place, Harry, Orkney, Scotland, 10 digital prints, 9 x 12 inches. |
| Water of Life, 2000, Edition of 24, self published, bottled urine, 9 ½ x 2 ¼ inches diameter. |
| Spent Bullets, 1999, Edition of 30, published by Niels Borch Jensen, Copenhagen, photo-etching on paper. Edition Number 1: Collection of the Metropolitan Museum of Art, New York. |
| 2v0, 1998, Edition of 10, published by the Mattress Factory Museum, Pittsburgh, glass, acetone, 5.5 x 2.5 x 2.5 inches. Box and cold rolled steel shelf designed by Michael Olijnyk, steel table with honed black marble slab top, 14 x 14 x 30 inches, designed by the artist. Edition Number 5: Collection of the Museum of Modern Art, New York |
| Contingency [book], 1995-97, Unique piece, self published, silver/liver of sulfur on 7 sheets of waxed linen paper, bound with steel clasps, encased in a steel box stamped with the title and artist’s name. |
| Indeterminacy [film sculpture], 1996, Edition of 13, self published, 6:30 minutes, thirteen 16mm film strips in plastic boxes, 3.5 x .5 x .5 inches, .689 diameter double convex magnifying glasses. |
| Zn + S + Ch3OOH, 1995, Edition of 10, self published, granulated sulfur, granulated zinc, white vinegar, on honed slate slab, 14 x 14 x .75 inches, on rolled steel table, 14 x 14 x 30 inches, threaded glass vial, 5 x .5 inches diameter, etched with title. |
| Indeterminacy [sculpture], 1993, Edition of 75, self published, glass, mercury, sealing wax, 2.5 x .75 inches diameter. |
| Zn + S + H2O, 1993, Edition of 60, published by Vital Matrix, Los Angeles, granulated sulfur, granulated zinc, water, in threaded glass vial, 3 x .3 x .3 inches. |
| Ag/K2SX + K2S2O3, 1993, Edition of 10, self published, silver, liver of sulfur, glass bottle, 6 x 3 inches diameter. |
| Indeterminacy, 1993, Dedicated to John Cage, Five unique books, self published. Riverstone, Contingency, Removal, Equivalents, Full. Contingency are encased in a silver over copper box, 22.25 x 27.65 x .75 inches. |
| Double Negative, 1993, Edition of 12, published by Evans Editions, New York and Renaissance Press, New Hampshire, photogravure on Somerset satin paper, 23.5 x 21 inches. |
| Performance, 1992, Unlimited Edition, published by the Metropolitan Museum of Art, postcard from the collection. |
| medium, 1992, Edition of 12, published by Evans Editions and Renaissance Press, New York, photogravure on paper and linen. |
| Survival, 1991, Edition of 6, Self published wax, acupuncture needles, pigment, 3 ½ x3 ½ x 4 inches, placed on an oval clear glass shelf 7 ½ x 5 ½ x ¼ inches clamped to a cylindrical aluminum wall mount. |
| plain air, 1991, Edition of 3, self published, nine silver gelatin print photographs. Edition number 3: The Art Institute of Chicago. |
| nothing, 1988, Edition of 25, self published, boxed electrostatic prints and text, 11 ½ x 8 x 1 inches. In the collections of: The Museum of Modern Art, Metropolitan Museum of Art, The Whitney Museum of American Art, The Getty Museum, Kunstmuseum Dusseldorf, The Art Institute of Chicago, Centre Pompidou, Paris, Moderna Museet, Stockholm, State Russian Museum, St. Petersberg, Russia. |
| Performance, 1976, Edition of 1000, self published, postcard. |
www.dovebradshaw.com: continually updated |
| www. ressleart.com: BjÖrn Ressle Gallery, New York |
| www.artnet.com/lbecker.html: Larry Becker Contemporary Art |
| www.solwayjones.gallery.com: SolwayJones Gallery, Los Angeles |
| www.pierremenardgallery.com Pierre Menard Gallery, Cambridge, MA |
| www.stalke.dk/stalke_galleri/artist/artistinfo/98/_dove_bradshaw: Stalke Gallery, Copenhagen and Kirke Sonnerup, Denmark |
| www.asa-art.com/facto/program/2007/ED2/bradshaw/1.html: Spirit of Discovery 2, Constructions, Trancoso, Portugal |
| www.mattress.org: Mattress Factory Museum, Pittsburgh, 2/0 edition, Ground, Negative Ions, Plain Air |
| http://newarttv.com/trailer/trailer.html: New Art site Dove Bradshaw (biographical film) |
| www.sover.net/~rpress: Renaissance Press, New Hampshire, Medium, Double Negative, permanent site |
| www.artcyclopedia.com: links to art museum sites |
| www.toutfait.com: Marcel Duchamp Website, Praying for Irreverence, permanent site |
| 2008 | Time Matters, Sothebys Institute, New York |
| Time Matters, Pierre Menard Gallery, Cambridge, Massachusettes | |
| Time Matters, University of Pennsylvania, Philadelphia, Pennsylvania | |
| 2007 | Pont-Aven School of Contemporary Art , France, teaching and resident artist |
| Constructions, The Spirit of Discovery !!, 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, panel |
| 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, panel | |
| 2000 | Formforml |