I've been checking out Mark Bradford.
Mark Bradford was born in Los Angeles, California in 1961. He received a BFA (1995) and MFA (1997) from the California Institute of the Arts in Valencia. Bradford takes materials found in the streets of LA and creates transformations that speak to and of his community.
I first saw Bradford’s work when he participated in the Freestyle Exhibition at the Studio Museum in Harlem. He has become a shining star and I’m learning more about him everyday. I love his collage abstractions that are described as “architectural”, “organic”, and “grid-like”. He’s often compared to Piet Mondrian,
Ellen Gallagher
and Basquiat.
Coming from a laymans perspective and considering only visual aspects of the work I personally would not have thought of these artists in conjunction with Mark Bradford. Maybe Mondrian but not Ellen Gallagher or Basquiat (both whose work I love). I probably would have thought more of Robert Rauschenberg. 
But only in comparison to certain pieces, like the following:
I recently read an interview with Mark Bradford in Art on Paper. When asked (about his work), “What has changed? Are there still endpapers?” I found interesting and just loved his response. He said, “Early on I did use endpapers. But the social component of the work started to weigh more than the paintings. I mean that being hairdresser started becoming more talked about than my being a painter. …”
He’s so right. The question is, why? Despite it’s place in the making of Mark Bradford, why would being a hairdresser be pushed that much into the forefront. I remember some of those reviews:
“Mark Bradford, 45, has gone from being a self-proclaimed “beauty operator” at his mother’s beauty shop in South Los Angeles to navigating the tangled, lucrative weave that is the international art scene”.
“…he used the tools of his mother's beauty salon trade to create his dynamic early pieces. (He also worked at her salon for a while.) His mediums were hair dyes and end papers, the small rectangular tissues folded over the ends of hair during the perming process. The collages that arose from his use of those beauty supply staples…”
“He’s discussed having been a hairdresser in South Central, using the same backdrops and aesthetic languages as that subculture—yet it complements his painting.”
7 comments:
Thanks to the new Detroit Institute of the Arts! I am looking at Hughie Lee Smith. They are a wall and a half just dedicated to his work. I am learning to step back and see more in the artwork. My eyes are always looking for Benny Andrews and were pleased this time to see a few pieces, not just the huge self-portrait. I enjoyed viewing the Jefferson Pinder website by way of the blog. He seems to be within reach because he is based in Washington D.C. I am going to keep my ear to the ground for him when I am in town.
I'm not really feeling this Mark Bradford work. Color and texture - yes. Other than that - yadda yadda yadda.
I'm really feelin' Mark Bradford. STRONG work. Thanks for the highlight.
Mark Bradfords work also echoes textile art from Angola, Ghana, China and Andean cultures.
It also address the Red man who existed in California before it was called that.
You may find Agnes Martin's work similar in textile appropriation and inspiration drawn from Native American people who she lived around.
These are not examples of possibilities but of facts excluded from western theory and history
because it suggests that western history is the only source of reference for everything.
Let's not forget the work of Sister Gertrude Morgan and James Hampton who preceede any contemporary artist working with found material like Thomas Hirshhorn and Mike Kelly. We don't even need to bring up the African art Piccasso was influenced by as was Duchamp.
Hello Lando,
Thank you for your insight. I checked out the textile patterns of the regions you mentioned as well as the work of Agnes Martin and I do see the influences in Mark Bradfords work.
My background is not in Art History so some of what you mentioned is new to me. However, I was familar with James Hampton and Sister Gertrude Morgan.
I first read about James Hampton and his "Throne of the Third Heaven of the Nation's Millennium General Assembly" in the early 90's in the book, 'Free Within Ourselves' but what's interesting is that the second time I saw his work it was in a book entitled, 'The Art of the Insane'. I didn't buy or read the book but often wondered why he was classified as "insane".
Of course you're right about Western art theory and history. If someone wanted to constructed their own independent study where would you suggest they start?
Thanks to Lando's post I found new ways to viewing Bradford's work. I am glad for the insight and opportunity to grow in my appreciation of visual art. I believe that Art as Artifact is important because it preserves culture/history and makes great connections. For instance, the textiles of China and Angola. Thanks for mentioning the work of Gertitude Morgan. I listen to her CD when working sometimes. My deep knowledge is more with music and music making.
hi Sharon,
I've been in my bat cave for a bit and couldn't re-locate your blog 4 some time. Made it back and though I am leaving for a week...still, would like to connect on a lower frequency and speak clear about these and many other concerns we all think about.
please contact me again if possible....misplaced your info :(
ps. The formula U spoke of about development and success in the Afro-American consciousness....we should send some smoke signals in that one.
Hi Anonymous,
It would b great to have a further conversation but I can't determine who you are to make contact. I need more info...a first name, initials, a landmark...a time frame...something more identifying.
I'll keep my eyes open for the signal.
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