•  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
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Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

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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.
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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.
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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.

ARTICLES

Ready to Watch; MARK BRADFORD

Angeleno artists are popping up all over Chelsea, and they’re certainly well represented in this Biennial. Mark Bradford makes collaged Mondrian-esque grids from strips of posters he picks up on the streets of South L.A.—paying homage to the sprawl of his city and the cacophony of ours.

“I’m drawn to collage because it’s the immediate juxtaposition of activity. In the city, I have that same feeling—Nigerian business next to Korean business next to Jewish business,” says the 44-year-old CalArts graduate, who’s been in several shows at the Studio Museum in Harlem and had solos at Sikkema Jenkins. Studio Museum curator Christine Y. Kim praises his “unapologetic hybridization of work, play, and art.

Read the entire article here
Source: newyorkmetro.com



Mark Bradford at Lombard-Freid
By Sarah Valdez

A Los Angeles-based hairdresser and self-described "beauty operator" who also earned his MFA from Cal Arts, Mark Bradford garnered quick fame for his alluring collages on canvas of singed hair-permanent endpapers (the small rectangles of transparent paper used by hairstylists) that appeared in "Freestyle," the 2001 exhibition at the Studio Museum in Harlem of up-and-coming African-American artists.

He coated these works with allover washes of see-through pigment, some of which was hair dye, in such a way that light appeared to shine through vaguely uneven grids. At once restrained, elegant and intricate, the Zen-like visuals Bradford created with "low" materials instantly mesmerized the eye.

For "Tainted," his second New York exhibition, the end-paper-on-canvas strategy remained, but the lattices have grown less gridlike. In the new works, Bradford has also started using paint and gold leaf, as well as collaged text and images. The letters "uice," in bright red, for instance, sprawl diagonally across one large, dirty-looking canvas smudged with black paint. The piece encouraged visitors to imagine the complete word "juice" (as the piece is titled) and all its potential connotations: wet, sweet and powerful, among other possibilities.

Read the entire article here
Source: findarticles.com