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.
Mark Bradford
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The Met’s Wrong Turn on Revisionism
When an exhibition is as puzzling as this one, it’s useful to step aside and reflect.
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Mark Bradford Appropriates Comic Books and Delves Into the Sublime
Bradford’s new paintings tell us how much we don’t know.
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Mark Bradford Reimagines “Pickett’s Charge” to Include New Voices
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.
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Mark Bradford’s Gettysburg Address
Bradford’s installation at the Hirshhorn Museum takes as its subject the ways we think, and ultimately don’t think, about history.
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Democracy’s Dark Side and a Glimmer of Hope in Mark Bradford’s Venice Biennale Show
In the US Pavilion, the artist’s work takes on a new context: wrestling with the hypocrisy of Jeffersonian democracy.
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Mark Bradford Faults New York Times for Publishing Photos of His Work Without His Permission [UPDATED]
The article, published earlier this week, includes images of unfinished works that will be featured in his solo show at the Venice Biennale.
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Mark Bradford’s Paintings Bring Out the Politics in Clyfford Still’s
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.
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Can Abstraction Help Us Understand the Value of Black Lives?
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.
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AIDS, Abstraction, and Absent Bodies: A Conversation with Mark Bradford
At first sight, Mark Bradford’s paintings attract viewers with their bright colors and often grand scale.
Posted inArt
Mapping the Body: Mark Bradford’s New Work
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.