Bradley Jones

Feigenson/Preston Gallery

Bradley Jones has been painting the figure for more than two decades. His early work often portrayed fantastic figures such as dog-faced men in business suits; in the ’70s he began crowding his pictures with the members of Detroit’s working class. These characters, while not necessarily having outsider status, still bore the mark of alienation. In the work here, they are contained within grids—some show multiple images of the same subject, others frame apparently unrelated scenes—in which each element stands as a picture in its own right. Whereas Jones’ previous works could be read as mere social-realist snapshots of urban living, the grid introduces a dialectical component which serves the dual function of index and narrator: the former in the way the grid serves as the repository of diverse elements occupying the same plane, and the latter through the sequence of events depicted, some

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