•  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
Saatchi Store
Current Exhibition

Mark Bradford EXHIBITED AT THE SAATCHI GALLERY

The Devil is Beating his Wife (and detail)

The Devil is Beating his Wife (and detail)

Mark Bradford
The Devil is Beating his Wife (and detail)

2003

Billboard paper, photomechanical reproductions, permanent-wave end papers, stencils, and additional mixed media on plywood

335.3 x 609.6 cm
Mark Bradford’s abstractions unite high art and popular culture as unorthodox tableaux of unequivocal beauty. Working in both paint and collage, Bradford incorporates elements from his daily life into his canvases: remnants of found posters and billboards, graffitied stencils and logos, and hairdresser’s permanent endpapers he’s collected from his other profession as a stylist. In The Devil is Beating His Wife, Bradford consolidates all these materials into a pixelised eruption of cultural cross-referencing. Built up on plywood in sensuous layers ranging from silky and skin-like to oily and singed, Bradford offers abstraction with an urban flair that’s explosively contemporary.
Kryptonite
Mark Bradford
Kryptonite

2006

Mixed media,collage on paper

249 x 301 cm
Using collage and paint on paper, Mark Bradford’s Kryptonite possesses an organic quality in its grid-like composition. Its convoluted architecture and overlapping details radiate as a megalopolissprawl, a seething microcosm of activity. Often compared to Piet Mondrian, Bradford gives modernism’s vision of an ordered utopia a lethal reality check as hard-edged borders and harmonious planes are exchanged for independent non-defined forms engaging
in unruly turf-war. Evolving his surface as a highly textured topography, Bradford uses gesture and mark-making to encapsulate the dissonance and excitement of a metropolitan landscape.
White Painting (detail)

White Painting (detail)

White Painting (detail)

White Painting (detail)

Mark Bradford
White Painting (detail)

2009

Mixed media, collage on canvas

259 x 366 cm
Mark Bradford’s abstractions unite high art and popular culture as unorthodox tableaux of unequivocal beauty. Working in both paint and collage, Bradford incorporates elements from daily life into his canvases such as remnants of found posters and billboards and hairdresser’s permanent endpapers. In White Painting, Bradford uses paper exclusively to replicate the effect of paint. Scratching and sanding through the layers to reveal strata of colours and embedded
images, his palimpsest surface draws connotations to both abstract expressionism and street art, recontextualising the sublime traditions of high art with an urban flair that’s explosively
contemporary.

Mark Bradford's BIOGRAPHY

Mark Bradford
1961
Born in Los Angeles

Lives and works in Los Angeles


SOLO EXHIBITIONS


2005
Grace and Measure, Sikkema Jenkins & Co., New York, New York

2004
Bounce: Mark Bradford and Glenn Kaino, REDCAT, Los Angeles

2003
Very Powerful Lords, Whitney Museum of American Art at Philip Morris, New York, New York
Tainted, Lombard-Freid Fine Arts, New York, New York

2002
Caught Up, Suzanne Vielmetter Los Angeles Projects, Los Angeles
Mark Bradford, Patricia Faure Gallery, Santa Monica
That Wasn’t My Car You Saw, Finesilver Gallery, San Antonio, TX Project Series 16: Mark Bradford, Pomona College Museum of Art, Claremont

2001
I Don't Think You Ready For This Jelly, Lombard-Freid Fine Arts, New York

2000
Color Theory, Luggage Store, San Francisco

1999
European Wavy, Two Rivers Gallery, Pittsburgh

1998
Distribution, Deep River, Los Angeles
Floss, Walter McLean Gallery, San Francisco


GROUP EXHIBITIONS


2005
Cut, Susanne Vielmetter Los Angeles Projects, Los Angeles
inSite: Art Practices in the Public Domain, San Diego, CA and Tijuana, Mexico
Farsites, San Diego Museum of Art, CA and the Centro Cultural de Tijuana, Mexico
Rogue Wave ’05: Nineteen Artists from Los Angeles, L.A. Louver, Venice
African Queen, Studio Museum in Harlem, New York

2004
California Biennial, Orange County Museum of Art, Newport Beach
Perspectives @25: A Quarter-Century of New Art in Houston, Contemporary Arts Museum, Houston
New Balance Frontier, Soap Factory, Minneapolis
Broad Territories, UCR/California Museum of Photography, Riverside
Fade (1990-2003), Luckman Gallery and University Fine Arts Gallery, California State University, Los Angeles, and Craft and Folk Art Museum, Los Angeles

2003
ARCO 2003, Madrid, Spain
Lean To, Real Art Ways, Hartford
Black Belt, Studio Museum in Harlem, New York

2002
Mirror Image, UCLA Hammer Museum; travels to Center for Curatorial Studies Museum, Bard College, Annandale-on-Hudson
Pertaining to Painting, Contemporary Arts Museum, Houston; travels to Austin Museum of Art, Austin
Painting as Paradox, Artists Space, New York
Mixed Feelings, USC Fisher Gallery, Los Angeles
Ghetto Fabulous, Watts Tower Art Center, Los Angeles

2001
Freestyle, Studio Museum in Harlem, New York; travels to Santa Monica Museum of Art, Santa Monica
Snapshots: New Art from Los Angeles, UCLA Hammer Museum, Los Angeles; travels to Museum of Contemporary Art, North Miami Beach
Capital Art, 2001, Track 16 Gallery, Santa Monica

2000
Contemporary Art by African American Artists, The Art Museum of Princeton
Fresh Cut Afros, Watts Towers Gallery, Los Angeles
Black Male, Reginald Ingraham Gallery, Los Angeles

1999
A Place Called Lovely, Greene Naftali, New York
Biennale Internazionale 1999, Palazzo degli Affari, Florence, Italy