ART AND SCIENCE 2007


      THE
      SPIRIT OF. DISCOVERY
      2 

      art and science international meeting
low power society and thought strategies
trancoso | portugal | june 21 to 23. 2007
free admitance
Dove Bradshaw  
http://www.dovebradshaw.com Dove
      Bradshaw was born in 1949 in New York City where, with primary
      education in New York and Devon, England, a two year attendance
      at Boston University, a BFA from the Boston Museum School of
      Fine Arts and Tufts University, she continues to live and work.
       She has had residencies at the Sirius Art Center, Cobh Ireland,
      the Statens Vaerksteder for Kunst and Niels Borch Jensen, Denmark,
      the Pier Center, Orkney, Scotland and the Defesa Della Natura,
      Bolognano, Italy.  Beginning in 1969, she pioneered the use of
      Indeterminacy in sculpture, painting, performance and film. Her
      persistent relinquishment of control took Conceptual Art in a
      sensuous direction.  By enlisting the unpredictability of life
      forces she first embraced Indeterminacy in a 1969 installation
      introducing a pair of mourning doves to bicycle wheels and floor
      mounted targets.  Decades before the Museum Interventionist movement
      was begun, an important 1976 Indeterminate work, titled Performance,
      involved an ongoing relationship with a "claimed" Metropolitan
      Museum of Art fire hose.  After staking the claim with a wall
      label, a guerrilla postcard was made in 1978.  In 1992 a museum
      card was issued and in 2006 Dada collector, Rosalind Jacobs,
      purchased the right to call it a work of art by acquiring an
      updated label.  Transferring this right, her donated label was
      accepted into the permanent collection this year.  Bradshaw's
      equally early fusion of scientific exploration with art practice
      has been broadly embraced in the Weathering and Science/Art movements
      decades before they were named.  Some of her gestures toward
      Indeterminacy have embraced the chance positioning of work, the
      use of materials particularly susceptible to weather and indoor
      atmosphere, the unpredictability of birds, the gradual erosion
      of water, or the use of inherently unstable substances such as
      acetone, mercury and sulfur. Time is no less significant a factor.
       She has said "Poetry is everywhere evident and therefore
      one only need present materials". John Cage, a long time
      champion, talked about her work with Thomas McEvilley in Dove
      Bradshaw, Works, 1969-1993, which appeared as a chapter in McEvilley's
      1999 Sculpture in the Age of Doubt and in a 2003 monograph The
      Art of Dove Bradshaw, Nature Change and Indeterminacy,  Batty
      Publisher, for which Mr. McEvilley wrote the text.  Cage selected
      her to accompany him in his 1991 Carnegie International presentation
      and she was represented in the similarly scored Rolywholyover
      Circus, 1993-5, consisting of his selection of Twentieth Century
      works.  Appointed in 1984 as Artistic Advisor along with William
      Anastasi for the Merce Cunningham Dance Company, she designed
      sets, costumes and lighting for a decade of the company's stage
      and television productions around the world.  They were accompanied
      by the music of John Cage, David Tudor, Takahisa Kosugi and Emanuel
      Dimas De Melo Pimenta.  An early survey titled Works appeared
      in 1984 at Syracuse University, Utica, New York and she has had
      two mid-career exhibitions, one in 1998 at the Museum of Contemporary
      Art, Los Angeles and the other in 2003 titled Dove Bradshaw,
      Formformlessness, at City University of New York.  Her work is
      represented in the permanent collections of numerous museums
      in the United States as well as in Europe and Russia and she
      has shown regularly in the US, Europe and Asia.  In June of 2006
      Bradshaw was commissioned by the Baronessa Lucrezia Durini to
      execute Radio Rocks as a permanent installation in Bolognano,
      Italy. Galena and pyrite tuners continuously draw local, short
      wave and outer space signals echoing the Big Bang. A computer
      chip randomly selects stations; the outer space signals are live.
       Last fall sponsored by Shu Uemura, she traveled to Asia for
      the first time exhibiting in Tokyo's Gallery 360°.   Invited
      to exhibit in the 6th Gwangju Biennale in South Korea she presented
      Six Continents, an erosion work with salt taken from each of
      the continents. In 1975 she won a National Endowment of the Arts
      Award for Sculpture, in 1985 The Pollack/Krasner Award for Painting,
      in 1986 a Prague d'Or for Points In Space costumes, in 1987 the
      New York State Council on the Arts Grant for Merce Cunningham
      Dance, for Design and Lighting, a Furthermore Grant for the 2003
      The Art of Dove Bradshaw and an Artists and Writers Grant from
      the National Science Foundation for assistance gathering Antarctic
      salt.  Bradshaw will have solo exhibitions at Senzatitolo Gallery,
      Rome and Pierre Menard Gallery, Cambridge, MA later this year.
       For The Spirit of Discovery 2 she will present Constructions,
      Zero Space, Zero Time, Infinite Heat consisting of five sculptures
      and 50 posters of past solo exhibitions.  

       Arts,
      Sciences and Technology. Foundation - Observatory 
direction: emanuel dimas de melo pimenta

THE SPIRIT OF.	DISCOVERY 2
art and science international meeting low power society and thought strategies trancoso \| portugal \| june 21 to 23. 2007 free admitance	Dove Bradshaw
http://www.dovebradshaw.com	Dove Bradshaw was born in 1949 in New York City where, with primary education in New York and Devon, England, a two year attendance at Boston University, a BFA from the Boston Museum School of Fine Arts and Tufts University, she continues to live and work. She has had residencies at the Sirius Art Center, Cobh Ireland, the Statens Vaerksteder for Kunst and Niels Borch Jensen, Denmark, the Pier Center, Orkney, Scotland and the Defesa Della Natura, Bolognano, Italy. Beginning in 1969, she pioneered the use of Indeterminacy in sculpture, painting, performance and film. Her persistent relinquishment of control took Conceptual Art in a sensuous direction. By enlisting the unpredictability of life forces she first embraced Indeterminacy in a 1969 installation introducing a pair of mourning doves to bicycle wheels and floor mounted targets. Decades before the Museum Interventionist movement was begun, an important 1976 Indeterminate work, titled Performance, involved an ongoing relationship with a "claimed" Metropolitan Museum of Art fire hose. After staking the claim with a wall label, a guerrilla postcard was made in 1978. In 1992 a museum card was issued and in 2006 Dada collector, Rosalind Jacobs, purchased the right to call it a work of art by acquiring an updated label. Transferring this right, her donated label was accepted into the permanent collection this year. Bradshaw's equally early fusion of scientific exploration with art practice has been broadly embraced in the Weathering and Science/Art movements decades before they were named. Some of her gestures toward Indeterminacy have embraced the chance positioning of work, the use of materials particularly susceptible to weather and indoor atmosphere, the unpredictability of birds, the gradual erosion of water, or the use of inherently unstable substances such as acetone, mercury and sulfur. Time is no less significant a factor. She has said "Poetry is everywhere evident and therefore one only need present materials". John Cage, a long time champion, talked about her work with Thomas McEvilley in Dove Bradshaw, Works, 1969-1993, which appeared as a chapter in McEvilley's 1999 Sculpture in the Age of Doubt and in a 2003 monograph The Art of Dove Bradshaw, Nature Change and Indeterminacy, Batty Publisher, for which Mr. McEvilley wrote the text. Cage selected her to accompany him in his 1991 Carnegie International presentation and she was represented in the similarly scored Rolywholyover Circus, 1993-5, consisting of his selection of Twentieth Century works. Appointed in 1984 as Artistic Advisor along with William Anastasi for the Merce Cunningham Dance Company, she designed sets, costumes and lighting for a decade of the company's stage and television productions around the world. They were accompanied by the music of John Cage, David Tudor, Takahisa Kosugi and Emanuel Dimas De Melo Pimenta. An early survey titled Works appeared in 1984 at Syracuse University, Utica, New York and she has had two mid-career exhibitions, one in 1998 at the Museum of Contemporary Art, Los Angeles and the other in 2003 titled Dove Bradshaw, Formformlessness, at City University of New York. Her work is represented in the permanent collections of numerous museums in the United States as well as in Europe and Russia and she has shown regularly in the US, Europe and Asia. In June of 2006 Bradshaw was commissioned by the Baronessa Lucrezia Durini to execute Radio Rocks as a permanent installation in Bolognano, Italy. Galena and pyrite tuners continuously draw local, short wave and outer space signals echoing the Big Bang. A computer chip randomly selects stations; the outer space signals are live. Last fall sponsored by Shu Uemura, she traveled to Asia for the first time exhibiting in Tokyo's Gallery 360°. Invited to exhibit in the 6th Gwangju Biennale in South Korea she presented Six Continents, an erosion work with salt taken from each of the continents. In 1975 she won a National Endowment of the Arts Award for Sculpture, in 1985 The Pollack/Krasner Award for Painting, in 1986 a Prague d'Or for Points In Space costumes, in 1987 the New York State Council on the Arts Grant for Merce Cunningham Dance, for Design and Lighting, a Furthermore Grant for the 2003 The Art of Dove Bradshaw and an Artists and Writers Grant from the National Science Foundation for assistance gathering Antarctic salt. Bradshaw will have solo exhibitions at Senzatitolo Gallery, Rome and Pierre Menard Gallery, Cambridge, MA later this year. For The Spirit of Discovery 2 she will present Constructions, Zero Space, Zero Time, Infinite Heat consisting of five sculptures and 50 posters of past solo exhibitions.
Arts, Sciences and Technology.	Foundation - Observatory