In her “Mother Paintings,” Bradford’s observations of life in a pandemic have merged with her interior world.
“When times are dark there is the inclination to want to give up. But the Dark Ages led to the Renaissance.”
“Ordinarily, I feel a sense of solidarity in isolation with other artists. I feel it even more during our enforced isolation.”
Bradford’s new paintings represent a significant departure from her previous work, which gained many admirers, myself included. Simply put: she has gotten much better at getting at difficult subjects.
New York University’s Grey Gallery takes on the concept of the sublime in contemporary landscape art.
Katherine Bradford and Jen DeNike remind me how much more there is to water in their gem-like show at AE2.
In this exhibition, it struck me that what Katherine Bradford keeps getting better at is incoherence: she can meld divergent details without coming across as contrived or arbitrary.
“Jen! Welcome to Maine!” Katherine Bradford exclaims brightly as she spots me crossing the street.
I certainly wasn’t the only person to be dazzled by Katherine Bradford’s breakthrough show, Desire for Transport, at Edward Thorp, nearly a decade ago.
“There are many art books for children that feature Old Masters work, which is great, but we wanted to go in a different direction,” Jessica Brown, creative director of Home Grown Books, said of the publisher’s new Mini Museum Series.
Italo Calvino’s Cosmicomics, first published in 1968, is a collection of twelve tales — most of them narrated by an ancient, improbable being by the name of Qfwfq — that blend science fiction with fantasy and indulge in the mind-expanding ethos of the times.
The narrative impulse in painting is nothing new.