CV

– Born 12-12-1944, Wilmington, Delaware, USA. Father of four children. Has lived in Europe from 1961 to 1969, and from 1979 to the present.
– Began drawing in 1961, while living in the mountains above Ollon in the Rhone valley. Studied the work of Paul Klee and Mark Tobey that he found in collections in Bern, Zurich, and Basel. Enrolled in the University of Strasbourg, 1963 to 1965, in l’Institut de Français Modern and as auditor in Philosophy and Art History. Bi-weekly private drawing lessons with Biagio Frisa. Enrolled in the Ecole d’ Etudes Sociales et Pedagogiques, Lausanne, 1965 to 1967, following interest in psychiatric art therapy.
– First exhibition, solo, at the Paul Schuster Gallery, Cambridge Massachusetts, 1967. Visited New York as a guest of Gus Solomons, attended rehearsals at the Merce Cunningham studio, where he met Jasper Johns. In viewing his drawings, Johns pointed out their affinity to connect with real things. This criticism made him aware of the importance of the experience of perception in his work.
– Joins the Arts Laboratory, Drury Lane, London, from December 1967 to the summer of 1969. Besides his own project, The Information Lab, he helped in many other actions, including the Alchemical Wedding, a ‘happening’ in the Royal Albert Hall, with John Lennon & Yoko Ono. Finally met Mark Tobey, in Basel, who gave his portfolio of drawings a careful and systematic  commentary.
– June, 1969, recalled by the army draft to the USA . Assigned to alternative service as Art Therapist at the Concord Area Community Mental Health Center, Concord, Massachusetts. Later moved to the same position at McLean Hospital, a psychiatric teaching hospital for the Harvard Medical School. Continued exhibiting at the Paul Schuster Gallery.
– 1970, marriage to Susan Miller. Divorced in 1978
– 1974, solo exhibition,  Gallery of Gordon College, Massachusetts
– 1975, receives a BA degree in Philosophy of Art and a minor in studio art (engraving), at the University of Massachusetts, Amherst- 1976, exhibition of 30 watercolours in the Exposorium of the Vrij Univeriteit, Amsterdam. Drawings taken in stock at the Wetering Gallery,

Amsterdam
– 1977, solo exhibition at Gallery Nouvelles Images, Den Haag
– 1978 marriage to Janneke Wesseling
– 1979, moves permanently to the Netherlands
– 1981, first purchase of drawings by Ad Petersen for the Department of Works on Paper, Stedelijk Museum, Amsterdam.
– 1982, “SISTER CITIES IN MODERN ART: Krefeld, Oxford and Leiden,”  the Waag, Leiden, with catalogue
solo, Wetering Gallery, Amsterdam
solo, Gallery Resy Muijsers, Tilburg, Netherland
– 1983, solo, Gallery Fenna de Vries, Rotterdam
– 1984, solo, the Wetering Gallery, Amsterdam
– 1985, solo, Gallery Fenna de Vries, Rotterdam
solo, Wetering Gallery, in the RAI
solo, Gallery Orez Mobiel, the Hague, Netherland
– 1986 to present, the SINGLE ART WORK (SAW) project (SAW) Proto-event, 1986 and first texts 1987. The first series of 12 events at the Appel, Brouwersgracht, sponsored by Ad Petersen, began in 1988, and the project continued thereafter in various locations, in Netherland, Germany, South Korea, and Switzerland. To date, participating artists have been: Marlene Dumas, Jan Dibbets, Marien Schouten, Jürgen Parthenheimer, Markus Raetz, Elsa Stansfield & Madelon Hooykaas, Helmut Dirnaichner, Jan Beutener, Hans Aarsman, Anselm Stalder, Marianne Eigenheer, Dagmar Baumann, Marian Breedveld, Franz Immoos, J.C.J.Vanderheyden, Nan Hoover, Henk Visch, Philip Akkerman, Daan van Golden, Thomas Huber, Dam Sa Baek , Raimer Jochims (2006, Nürnberg)-  Publications in The Revisor, and in the book, “Horen verhält sich zu Sehen wie Reden zu Gesehenwerden” (Hearing relates to Seeing, as Speaking does to Being Seen), Kunst, Sprache, Vermittlung, edited by F.W.Block und H.Funk, 1995, Goethe Institut, Munchen, Text of lecture about SAW project, given at a symposium at the University of Kassel, in context of documenta IX, 1992
– 1987, solo, Gallery Resy Muijsers, Tilburg
– 1988, solo, Wetering Gallery, Amsterdam
KUNST WERKEN IN BOOK FORM, Het Apollohuis, Eindhoven, with catalogue
– 2000 solo, Galerie “frontstore”, Basel, ; Grafisch Atelier ‘t Gooi, Hilversum
– 2002, solo exhibition and symposium, Kunsttempel, Kassel, included in  “Stadtprogramm im documenta-jahr 2002”
– ‘Zinvolle Landschapen’ (Meaningful Landscapes), three drawings reproduced with text, Tijdschrift voor Humanistiek, Nr. 13. March/April, 2003
– 2005, Gongju International Art Festival, R.O.Korea, with catalogue
– 2006, solo exhibition, Phoebus Gallery, Rotterdam
– 2007, THREE CENTURIES OF WORK ON PAPER,  Aurel Scheibler Gallery, Art Basel
– 2008, solo, Aurel Scheibler Gallery, Berlin

– 2009, NEW POSITIONS, presented by Aurel Scheibler Gallery, Art Cologne, Cologne
– 2009, SHADOW EXISTENCE, group, ScheiblerMitte, Berlin
– 2010, DRAWINGS, group, Wetering Gallery, Amsterdam

– 2011, LINE-UP, Marion Scharmann Gallery, Cologne

TWENTY, group, Aurel Scheibler Gallery, Berlin

SCENERY: LANDSCAPE IN THE 21st  CENTURY,’ group, 37PK, Haarlem

– 2012, purchase of  ‘dunes near Wijk aan Zee’ by Teylers Museum, Haarl
LINIEN, Dok25a, Düsseldorf, Germany
– 2013, LINIEN, ogbo – raum für bild wort ton, Berlin
ABSTRACT SPECIFIC / SPECIFIC ABSTRACT, Werkleitz Jubiläums Festival, Halle / Salle, Germany
– 2014, TINO: SATZZEICHUNGEN, Kunsttempel, Kassel, Germany / the Akademie der Kunste, Berlin, Germany
BACK TO THE FUTURE, The Klüser Collection, Kunsthalle Krems, Austria
HAENGENDE GAERTEN (hanging gardens), Maerz Kunstverein, Linz, Austria
– 2015, JONATHAN BRAGDON, ELI CONTENT, FRIEDRICH BLOCK, Kunsttempel, Kassel, Germany
DIE KRAEFTEN HINTER DEN FORMEN / THE FORCES BEHIND THE FORMS, Galerie im Taxispalais, Innsbruck, Austria /
Kunstmuseum Krefeld – Museum Haus Lange, Haus Esters, Krefeld, Ger,many
THE SKY UNDERFOOT, solo, Galerie Klueser, Munich, Germany
– 2016, DIE KRAEFTEN HINTER DEN FORMEN / THE FORCES BEHIND THE FORMS, Kunstmuseum Thun, Thun, Switzerland
JONATHAN BRAGDON / DASEIN, solo, Kunstmuseum Appenzell, Heinrich Gebert Foundation, Appenzell, Switzerland

Artworks included in various public and private collections, including the Stedelijk Museum, Amsterdam, The City of Leiden, the collection of the Dutch PTT, the Peter Stuyvesant Collection, Buhrmann-Tetterode bv, Research voor Beleid bv, Co Westerik, Doeschka Meijsing, Christine Koenigs,

Published by the artist:   -“Alexander the Great at Salt Lake ”, Genesis 1975, vol.1, no. 1
“The Single Art Work Project”, a series of articles in De Revisor: 1989, no. 5; 1990, nos. 2 and 5, 1991no.
-“The Single Art Work Project – J.C.J.Vanderheyden ”, Kunst en Museum Journal (and in international edition, Art and Museum Journal), 1993, vol.6, no. 4
-“Onder het Kijken over een Schilderij praten” ( “Talking while Looking at a Painting”), Raster, 1993 -“Hören verhält sich zu Sehen wie Reden zu Gesehenwerden” (Hearing is to Seeing, as Speaking is to being Seen ), Kunst, Sprache, Vermittlung, Goethe Institut, München, 1995. A collection of papers given at a University of Kassel sponsored symposium on image and language held in the context of the 1992 Documenta.
-“Zinvolle Landschapen” (Meaningful Landscapes), three reproductions of drawings with text. Tijdschrift voor Humanistiek, Nr.13, March/April 2003

About the artist  

-“Acht Tekeningen door Jonathan Bragdon”, Paul Hefting (selection and text), Wetering Galerie, 1982-“Jonathan Bragdon”, Betty van Garel, NRC Handelsblad, 21-9-84
-“De Voorwarden van Jonathan Bragdon”, Hans Sizoo, Kunst Beeld April, 1988
-“Uit Eten met een Schilderij”, Ethel Portnoy, Genietingen, Meulenhoff, Amsterdam, 1995