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Marvin Touré
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the blood is the water.
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Catalina Schliebener Muñoz
,
Deep, Deep Woods
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Isla Hansen
,
How to Get to Make Believe
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Andrea Peña
,
States of Transmutation
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Asim Waqif
,
Assume the Risk
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After School

Teen Art Cooperative
Our Mission

The Mattress Factory is an artist-centered museum, international residency program and renowned producer and presenter of installation art. We say “yes” to artists, offering time and space to dream and realize projects in our hometown, Pittsburgh, PA. We invite audiences from around the world and around the corner to step inside, immerse and connect with the artistic process.

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On View

Dove Bradshaw

Ground

This play is a reflection on the (im)possibility of accepting diversity and the other. The fragmented body of the neoplasm—the fruit of unstable conditions—overcomes barriers, loves and denies itself and others, wanders around, forgetting its profession. It frequently and with pleasure divides, goes through dangerous palpation, questions the possibility of contact with the experience of the other. Poorly brought up but very successful, it invites us to a trans-species transition.

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The work of Dove Bradshaw works with our changing conceptions of time and space which we have assumed for a long time are two different things. She’s involved, as we are in our lives, because of art, with an almost scientific procedure, so that she can experiment in such a way as to prove something. And she can subject us to the results of her experiments which can open us to the life we are living. - John Cage

Dove Bradshaw's artistic practice is guided by indeterminacy. She allows natural forces - such as time, weather, erosion, and atmospheric conditions - to act upon her works. Bradshaw has created chemical paintings that change with indoor atmosphere, and sculptures made of salt or stone that are naturally eroded by wind and water.

In her work, Ground, a rectangular form of white drywall acts as a reflection of the effects that light, air and time have on the space in which it is installed.

 

Artist Statement

Dove Bradshaw’s artistic practice is guided by indeterminacy. She allows natural forces – such as time, weather, erosion, and atmospheric conditions – to act upon her works. Bradshaw has created chemical paintings that change with indoor atmosphere, and sculptures made of salt or stone that are naturally eroded by wind and water.

When

Long-term

1994

Where

1414 Monterey, 2nd Floor

ACCEssibility

Accessible only by stairs

Image by Tom Little, courtesy of Mattress Factory
About The Artist

In 1969 Dove Bradshaw first embraced the use of indeterminacy by enlisting the effects of time, weather, erosion, and atmospheric conditions on natural and chemical materials. Her earliest work in this direction, Plain Air, invited the unpredictability of life forces by introducing mourning doves into an installation of bicycle wheels and floor—mounted targets. She developed the Contingency chemical paintings that change with indoor atmosphere, the Negative Ions erosion sculptures of salt, Indeterminacy stone and mineral sculptures that bleed outdoors, and charged crystals to receive transmissions from weather stations, local and short wave, along with radio telescope signals from Jupiter in Radio Rocks. In another vein, her 1999 body works presented the twenty-three elements proportioned by weight in glass flasks, later evolving into Partial Portrait, in which casts of her foot, hand and face emerge from a wall. In 1975 Bradshaw won a National Endowment for the Arts Grant; 1975 the Pollock Krasner Award; 2003 a Furthermore Grant; 2006 the National Science Foundation for Artists Grant. Her work regularly exhibits in the US, Europe and Japan, notably appearing in the 6th Gwangju Biennale, South Korea. Solo exhibitions also include: the Museum of Contemporary Art, Los Angeles, Utica College, Syracuse University, Utica, New York, The City University of New York, Pierre Menard Gallery, Cambridge, Massachusetts and galleries in New York, Los Angeles, Philadelphia, Cologne, Copenhagen and Tokyo, among others. She is represented in the permanent collections of many major museums: the Metropolitan Museum of Art, Museum of Modern Art, The National Gallery, The Art Institute of Chicago, The British Museum, Centre Pompidou, and the Russian State Museum, Marble Palace, St. Petersburg. As Artistic Advisor to the Merce Cunningham Dance Company along with her life—partner William Anastasi from1984 to its demise in 2011, she designed décor and lighting with music of John Cage, David Tudor, Takahisa Kosugi, Christian Wolff and Emanuel de Melo Pimenta for a decade of productions around the world. In 1986 the BBC commissioned Merce Cunningham’s Points In Space filming its making and premiere for which Cage composed the music, Anastasi designed the three backdrops and Bradshaw the double sets of costumes. Nureyev later staged it for the Paris Opera Ballet. Her 2011 film, SPACETIME, scored to Cage’s Ryoanji, was screened with a live accompaniment by the Mesostics Ensemble at the Paris Conservatoire on Madrid Street. In 2012 for the Sorbonne colloquium: John Cage Artist, John Cage Composer: Anatomy of the Convergence, Bradshaw delivered Still Conversing with Cage on her experience of his free-associating mentorship. Born in 1949 and still residing in New York, she also continues since childhood to summer in the Endless Mountains of Pennsylvania.

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