Articles & Press The limestone carvings of Bradford Graves are a celebration of profound perplexity and mystery. They explain themselves neither quickly nor easily. Instead, they invite deliberately paced intellectual search and spiritual speculation...Stimulating the exercise of imagination, the sculptures challenge to invent their own relevant meanings...these silent pieces of chiseled rock plumb the sublime. In their unique way they illuminate mystical depths...there is a growing coterie of admirers able to appreciate the majesty implicit in Gravesí language of form.
Burton Wasserman May, 1996 ART MATTERS
Bradford Graves is an original and ingenious form maker....Gravesí display, one of the most striking and profound sculpture solo exhibitions in Philadelphia in recent years, presents a profusion of abstract shapes that seem to well up from the artists imagination as in natural growth.
Victoria Donohoe, March 11, 1989 The Philadelphia Inquirer
Bradford Gravesí sculpture is complex. We see carved limestone slabs that look like the ruins of ancient walls. In front of them are horizontal pieces of limestone grooved in a geometrical pattern. One senses obscure, mystical meaning which is moving...Gravesí work is difficult to describe but very much worth seeing...Graves is a sculptor worth following. His work is original and very interesting indeed, and the Thorpe Gallery is much to be commended for showing such radical, yet resolutely untrendy work.
John Caldwell, March 8, 1981, The New York Times
Two unusually accomplished artists are now on view. Especially impressive is Bradford Graves, a sculptor who works imaginatively in limestone. Graves seems to be creating modest-sized monuments...his work is most effective when they create the impression of almost natiral elements such as one might find, perhaps, in a Surreal seaside landscape.
James R. Mellow, May 19, 1973 The New York Times
Another fine display of sculpture may be seen at Georgetown Universityís Inter-Cultural Center and features the work of New York sculptor Bradford Graves...More so than with the work of many modern sculptors, the viewer must rely on his intuition to interpret his pieces...In sum, Mr. Gravesí sculpture is enigmatic. It unites the twin themes of natural organic development and human-imposed structure. It succeeds. The success of this synthesis occurs on a strictly subliminal level: and itís good that it does because it keeps one thinking, questioning.
Michael Weizenbach, May 1, 1986 The Washington Times
Art galleries no longer show much carved stone sculpture which makes the show by Bradford Graves something of an anomaly. He wants it to say stone in the traditional sense, but he also tries to make it a vehicle for contemporary sculptural language. This results in work that looks a bit other worldly, as if it had dropped in from another planet....The sculptures look archaic, like archeological artifacts. On the other hand their abstraction is organic and totally contemporary which sets up a rather vigorous clash of sensations. ...Either way, it gets your attention.
April 9, 1993 The Philadelphia Inquirer
Bradford Graves sustains the greatest amount of interest through his low-keyed and highly evocative works of profound originality....His work combines pallid, subtly textured rock with water that rests in a track-like indentation that runs down the length of limestone. The elements slowly fuse....In other works Graves evokes his haunting rhythms, stimulating quiet contemplation of his most unusual and visionary gems of sculpture.
Barbara Cavaliere, Sept., 1978 arts magazine
An unusually acocmplished artist is now on view in the museumsí galleries. Bradford Graves works imaginatively in limestone, sometimes smoothing it into seemingly weather, slab-like shapes, sometimes breaking it up into smallish, gravel-like chunks, and sometimes even stringing it together with strands of rope. Gravesí works are most effective when they create the impression of almost natural elements such as one might find, perhaps, in a Surreal seaside landscape.
Elizabeth Steves, May 19, 1973 The New York Times