I have spent hours scrutinizing and "grok-ing" a stash of images of Joe Bradley's work for painting inspiration. The majority from his previous oeuvre (as you mention later in this video) consisting of a lot of raw unprimed canvas, looking like it was on the studio floor for 6 months (as you said). I have that extreme feeling of preciousness and vulnerability, that, it takes a special awareness to see the genius and wonder in what to most lay-persons would appear to be chaotic, random, and just splashed paint and accidental marks. It's the same camouflaging of intent and craft that Cy Twombly deployed with his graffiti squiggles and automatic drawing marks so long ago. It's like being able to see a secret world that most would dismiss out of hand. I appreciate his new avenue of exploration, and I think you explained his position relative to the art world and recent art history beautifully. That said, I just couldn't catch the actual word you were using in your comment (@ 6:18) about the Neo-Expressionists "maybe even some of the HEFTIC(?) painters - George Baselitz, Immendorf, Keifer." Sorry - could you reply with what you said, I missed it. I hesitate to add in the ultimate art hand grenade, but... I feel a bit of Picabia in these as well. :-) You will be missed so badly when you hang up your camera for good, so, please just keep on truckin'! Thanks James, thanks Kate!
Hey Tons, the tern I used was "Heftige painters", a subcategory of the "Neue Wilden" bunch. The word "heftige" means something like "heavy" or "forceful". Also I believe many of the Heftige painters were outside Berlin in places like Cologne and Hamburg. Here's a quote from the Ketterer Kunst website " The German "Neue Wilden" tied in with the "First Neo-expressionism" of the 1960s, when Georg Baselitz, A. R. Penck, Markus Lüpertz, Bernd Koberling, Karl Horst Hödicke and others sought a new expressive way to return to the figurative. This was the basis for Neo-expressionism in Germany, which became synonymous with the "Neue Wilde", a title of an exhibition in Aachen in 1980. The term is problematic, as it does not reference a form of wild art, but rather wild artists - an alternative description of the tendency is "Heftige Malerei" (Vigorous Painting) which seeks direct contact with the work." P.S. I'll try to keep on keepin' on, but one only has so much time to paint...JK
thank you for the comment. but why shouldn't the canvas be primed? it can't hold without primer. it would also destroy the fabric. can you explain that? many thanks FROM HAMBURG-GERMANY
@@frank-j6l2z Heya Crazy Paint... I don't know if you hope JK will reply, and as a former Utrecht Paint Store employee, I'm sure he knows far more than I do. That said, I'd imagine that if Joe Bradley was using acrylic paints on unprimed canvas, it might have some archival hope. But yes, if it's oil straight on canvas, that seems bad to me too. I'm often shocked by these blue chip artists throwing archival concerns to the wind despite their works selling in the tens of millions of $. Seems negligent.
I've always had a slight problem with Joe's work, but after years of looking it was my problem not getting it...he is an original and very strong painter...thanks Kate and JK...
I'm used to overlaying and juxtaposing patches of colour to create some sort of loose pattern, then incising a bit of form with linearity, but that's only the beginning. Which is why I take issue with the suggestion that these are "intensely worked". It doesn't take long to cover something with something else. This is not intensity. Actually, I prefer avoiding negativity, since it won't make my life any better. But, on the other hand, once in a while you just have to be true to your feelings in communication as well. Here's a bit of praise -- impressed that James Kalm remembers Horst Antes. That's an encyclopedic painting mind. Also hoping that Kalm keeps on for a while yet.
Many large canvases, I feel like there is a lyrical thinker trapped in all those white loopy lines trying to break out and breath. My reaction, nay advice, less can be more. I think the last painting by far the most successful. Thanks James and to Kate. Hoping you find it in you to continue your unique presentation and view point on the art happening in NY.
appreciate your coverage and commentary, great work from Joe. Concerning the colors, I read somewhere recently that Joe generally uses out of the tube colors, so that his red is "red", his green is "green" etc. Not sure if that's 100% of the time.
I think his strongest work to date, that I'm familiar with were the "Mouth and Foot Paintings" at Gavin Brown's a few years ago. Mighty powerful stuff.
Don't like the white lines except in the final painting, probably because the background is quite simple compared to the other paintings in the show. I do like the busier backgrounds but I find the white lines very jarring in these works, like nails on a blackboard. Just feel that he went in the wrong direction after some lovely vibrant beginnings. Also, awesome buskers!
I see some Gorky, some Appel, some Guston, some Basquiat, etc. The colors are playful, the lines are somewhat abstract and cryptic but they do represent recognizable symbols…of a swan, a phallus, and some faces. Fundamentally, it’s just a play on color, texture, and lines. Vom (“Bom” = Good in Portuguese) Abend (Evening in German)…in other words, the title of the show is “Good Evening,” hence the dark background contrast of the series of paintings. 👍😊
I'm fine with the brown. But there's a grubby pink in there which is the colour of old medical prostheses and the gums of dentures. Even a little dab gives me flashbacks.
Big Bradley fan here, but what's with the thick, blatent white, Marden-like, Johns-like outlines, Joe? Yuck. The painting underneath, the color, the forms and shapes are all magnificent. Too bad you found a need to tie everything up and together like a child's Christmas presents. They look middle aged-repressed and "arty" compared to your early abstractions which remain, frankly, masterpieces. So...magnificent painting, elaborate disappointing paintings.
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I really hope it keeps going! It’s such an important resource for the artworld. Thanks Kate
Thank you for the tour of Art in the Big City
Loved these juicy paintings! Thank you so much James and Kate!!!
Thank you Kate! ❤
Who’s Kate?
Thank you and thank you kate
Oh no! You're thinking of suspending the Kalm Report? I hope not, I love it - it's my favorite thing on TH-cam!
Distressing for me as well
No other channel like this
=(
Me too
please say it ain't so!
Thank you
Thank you Kate
Thank you Kate! Your channel is a highlight of my youtube experience. ✨️
Fantastic show and great commentary! Thank you never gets old. 🤩
Thank you Kate😊
I loved the show. Thanks Kate. All art comes out of art. A beautiful gallery presentation too.
Thank you James. 👌
I love so much of what Zwirner shows, but I feel bad for the collectors that dropped 6 figures on these paintings.
I have spent hours scrutinizing and "grok-ing" a stash of images of Joe Bradley's work for painting inspiration. The majority from his previous oeuvre (as you mention later in this video) consisting of a lot of raw unprimed canvas, looking like it was on the studio floor for 6 months (as you said). I have that extreme feeling of preciousness and vulnerability, that, it takes a special awareness to see the genius and wonder in what to most lay-persons would appear to be chaotic, random, and just splashed paint and accidental marks. It's the same camouflaging of intent and craft that Cy Twombly deployed with his graffiti squiggles and automatic drawing marks so long ago. It's like being able to see a secret world that most would dismiss out of hand.
I appreciate his new avenue of exploration, and I think you explained his position relative to the art world and recent art history beautifully. That said, I just couldn't catch the actual word you were using in your comment (@ 6:18) about the Neo-Expressionists "maybe even some of the HEFTIC(?) painters - George Baselitz, Immendorf, Keifer." Sorry - could you reply with what you said, I missed it. I hesitate to add in the ultimate art hand grenade, but... I feel a bit of Picabia in these as well. :-)
You will be missed so badly when you hang up your camera for good, so, please just keep on truckin'! Thanks James, thanks Kate!
Hey Tons, the tern I used was "Heftige painters", a subcategory of the "Neue Wilden" bunch. The word "heftige" means something like "heavy" or "forceful". Also I believe many of the Heftige painters were outside Berlin in places like Cologne and Hamburg. Here's a quote from the Ketterer Kunst website " The German "Neue Wilden" tied in with the "First Neo-expressionism" of the 1960s, when Georg Baselitz, A. R. Penck, Markus Lüpertz, Bernd Koberling, Karl Horst Hödicke and others sought a new expressive way to return to the figurative. This was the basis for Neo-expressionism in Germany, which became synonymous with the "Neue Wilde", a title of an exhibition in Aachen in 1980. The term is problematic, as it does not reference a form of wild art, but rather wild artists - an alternative description of the tendency is "Heftige Malerei" (Vigorous Painting) which seeks direct contact with the work."
P.S. I'll try to keep on keepin' on, but one only has so much time to paint...JK
@@jameskalm Thanks so much for the explanation. I honestly should know all of this, tsk tsk. Thanks!
thank you for the comment. but why shouldn't the canvas be primed? it can't hold without primer. it would also destroy the fabric. can you explain that?
many thanks FROM HAMBURG-GERMANY
@@frank-j6l2z Heya Crazy Paint... I don't know if you hope JK will reply, and as a former Utrecht Paint Store employee, I'm sure he knows far more than I do. That said, I'd imagine that if Joe Bradley was using acrylic paints on unprimed canvas, it might have some archival hope. But yes, if it's oil straight on canvas, that seems bad to me too. I'm often shocked by these blue chip artists throwing archival concerns to the wind despite their works selling in the tens of millions of $. Seems negligent.
@@tonsfocus yes, that's right. it's negligent.
thank you very much for your answer. sir
best regards from Hamburg
The woman model painting looks intresting. A kind of slow variation on de Kooning.
Thanks Kate
I've always had a slight problem with Joe's work, but after years of looking it was my problem not getting it...he is an original and very strong painter...thanks Kate and JK...
Will you be checking out Julian Schnabel show at vito Schnabel gallery?
Hey @marceloelisarmiento8840 I've got both of Julian's shows in the can. You'll just have to give me some time to edit the program, Thanks...JK
Wow just last night I was wondering what's up with Joe . Of course I know Joe from this channel. So thanks Kate.
please please dont suspend the kalm report - -
I'm used to overlaying and juxtaposing patches of colour to create some sort of loose pattern, then incising a bit of form with linearity, but that's only the beginning. Which is why I take issue with the suggestion that these are "intensely worked". It doesn't take long to cover something with something else. This is not intensity. Actually, I prefer avoiding negativity, since it won't make my life any better. But, on the other hand, once in a while you just have to be true to your feelings in communication as well. Here's a bit of praise -- impressed that James Kalm remembers Horst Antes. That's an encyclopedic painting mind. Also hoping that Kalm keeps on for a while yet.
Did you like the paintings?
Many large canvases, I feel like there is a lyrical thinker trapped in all those white loopy lines trying to break out and breath. My reaction, nay advice, less can be more. I think the last painting by far the most successful. Thanks James and to Kate. Hoping you find it in you to continue your unique presentation and view point on the art happening in NY.
appreciate your coverage and commentary, great work from Joe. Concerning the colors, I read somewhere recently that Joe generally uses out of the tube colors, so that his red is "red", his green is "green" etc. Not sure if that's 100% of the time.
I think his strongest work to date, that I'm familiar with were the "Mouth and Foot Paintings" at Gavin Brown's a few years ago. Mighty powerful stuff.
Cheers to 17 plus years of half azz ness. ❤❤❤
I see a nod to Bryce Marden if my eyes are correct as well as your references. Thank you as always... Kate!
❤❤❤
The Primo Tenderizer Pedals 😻🧡
I like you so much more now lol
Love from korea :)
Don't like the white lines except in the final painting, probably because the background is quite simple compared to the other paintings in the show. I do like the busier backgrounds but I find the white lines very jarring in these works, like nails on a blackboard. Just feel that he went in the wrong direction after some lovely vibrant beginnings. Also, awesome buskers!
I see some Gorky, some Appel, some Guston, some Basquiat, etc. The colors are playful, the lines are somewhat abstract and cryptic but they do represent recognizable symbols…of a swan, a phallus, and some faces. Fundamentally, it’s just a play on color, texture, and lines. Vom (“Bom” = Good in Portuguese) Abend (Evening in German)…in other words, the title of the show is “Good Evening,” hence the dark background contrast of the series of paintings. 👍😊
Nice gallery space. Paintings are inconsequential . I Like your videos though.
I sense a certain reticence James Damned with faint praise maybe.
I don’t know about that brown color he continues to use.
I just scanned through the show, and didn't see a lot of brown (?)...JK
70s brown vibe yuck
I'm fine with the brown. But there's a grubby pink in there which is the colour of old medical prostheses and the gums of dentures. Even a little dab gives me flashbacks.
His early work is stronger. This is too Cobra.
A lot of late Picabia going on
Gestural catalog of lines and shapes. Kind of a mash up of Brice Marden and Trudy Benson.
Joe Bradley has folliculitis on his butt.
Folliculitis of the butt
not my cup of tea
thanks to your video we can confirm he's another overrated painter...
Big Bradley fan here, but what's with the thick, blatent white, Marden-like, Johns-like outlines, Joe? Yuck.
The painting underneath, the color, the forms and shapes are all magnificent. Too bad you found a need to tie everything up and together like a child's Christmas presents.
They look middle aged-repressed and "arty" compared to your early abstractions which remain, frankly, masterpieces.
So...magnificent painting, elaborate disappointing paintings.