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February 18, 2011

James Kalm has been scooting around the New York art scene long enough to know when an artist begins to reach “critical mass”. This double header of exhibitions by Joe Bradley signals his arrival. With an almost whimsical use of Minimal tropes, Bradley drifts from one stylistic realm to another, evoking a cast of art historical characters like a musician performing a one-person medley of “Greatest Hits”. “Mouth and Foot Paintings” at Gavin Brown’s Enterprise recalls Abstract Expressionism and its exuberant 1980s iteration, Neo-Expressionism, while “Human Form” at CANADA with a reduced palette and bold frontality riffs on Pop and its formalistic and austere offspring Minimalism.

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