Most shows can’t or don’t hold these very separate aspects in synchronous rotation: sober assessment of an art historical lineage and a feeling of intimacy. This one does.
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
Bradford’s new paintings tell us how much we don’t know.
Within Bradford’s “Pickett’s Charge,” there is a rawness, a free construction that flies in the face of popular culture’s insistence on a simplified historical and visual record.
Bradford’s installation at the Hirshhorn Museum takes as its subject the ways we think, and ultimately don’t think, about history.
In the US Pavilion, the artist’s work takes on a new context: wrestling with the hypocrisy of Jeffersonian democracy.
The article, published earlier this week, includes images of unfinished works that will be featured in his solo show at the Venice Biennale.
BUFFALO — Many published interviews with the contemporary artist Mark Bradford focus on his youth and the geography of Los Angeles, but not his conversation with Abstract Expressionism.
ST. LOUIS — Several months ago, I made the commitment to be away from New York City, my home and native land, for the duration of this summer.
2015 was the Year of the Whitney.
At first sight, Mark Bradford’s paintings attract viewers with their bright colors and often grand scale.
Three years ago I wrote a review titled “Is Mark Bradford the Best Painter in America?” It wasn’t an altogether serious question, but it wasn’t facetious either.