The New York Times has a discussion of Peter Bradley’s November 2022 exhibit at Karma: The choice paragraph in the piece is this:
Despite the occasional ferocity of Bradley’s paint application, they are cool tempered, too. Which, judging from past interviews, is not an epithet that applies to their maker. Bradley is unfiltered in his opinions and rightly scornful of an art world that at first tokenized him, then ignored him. After the 1970s, Color Field painting — the movement to which he most closely hewed — fell out of favor; artists of color, on the whole, were then, as now, expected to make art that represented aspects of their identity.
For Bradley, to make paintings about nothing was, paradoxically, an act of political resistance.
The review is here: Against the Grain: Rebecca Morris and Peter Bradley’s Art ‘About Nothing’\, two exhibitions in Los Angeles by two painters make ardent cases for abstraction.
The show runs through November 5, 2022.
Our previous post on Bradley is here.
Bradley’s work is discussed in the book Abstract Painting: Concepts and Techniques