Mark Bradford I Thought You Knew 2001 Collage, acrylic paint, and felt tip pen on canvas. 72 1/4 x 84 1/4 in. (183.5 x 214 cm). Initialed, titled, and dated “MB ‘I Thought You Knew’ 2001” on the reverse.
Provenance Lombard-Freid Fine Arts, New York Exhibited San Antonio, Finesilver, That Wasn’t My Car You Saw, April 12 - June 15, 2002; New York, Lombard-Freid Fine Arts, Mark Bradford Tainted, October 17 - November 15, 2003 Literature F. Colpitt, “Mark Bradford at Finesilver – San Antonio,” Art in America, November 2002, p. 165 Catalogue Essay "When I saw Mark’s paintings, I was amazed by the very elegant but raw quality. They felt very emotional, very immediate. But also so beautifully considered…After that, I came to know his photographic work, the performative work and the way in which Mark really lives his practice." (Thelma Goldin quoted in E. Hardy “The Eye of L.A.,” Los Angeles Times, June 13, 2006, p. 16) Bradford seeks to establish his own identity in his work by drawing on notions of beauty and ethnicity. Thelma Goldin, curator at the Studio Museum Harlem, used the term “postblack” to describe the latest output of work by young African-American artists in a recent exhibition titled Freestyle which included Bradford’s work. Bradford’s artistic practice is influenced by his personal experiences growing up and eventually working in a beauty salon in South Los Angeles. He uses overlapping squares of cellophane and paper in ways that mimic the various dying, straightening and curling processes of the salon. Layered over salvaged remnants of posters and alongside collaged images from hairstyling magazines, the artist’s canvas is a composition of shimmering, variegated forms that shine through the uneven surface grid. Read More
Mark Bradford I Thought You Knew 2001 Collage, acrylic paint, and felt tip pen on canvas. 72 1/4 x 84 1/4 in. (183.5 x 214 cm). Initialed, titled, and dated “MB ‘I Thought You Knew’ 2001” on the reverse.
Provenance Lombard-Freid Fine Arts, New York Exhibited San Antonio, Finesilver, That Wasn’t My Car You Saw, April 12 - June 15, 2002; New York, Lombard-Freid Fine Arts, Mark Bradford Tainted, October 17 - November 15, 2003 Literature F. Colpitt, “Mark Bradford at Finesilver – San Antonio,” Art in America, November 2002, p. 165 Catalogue Essay "When I saw Mark’s paintings, I was amazed by the very elegant but raw quality. They felt very emotional, very immediate. But also so beautifully considered…After that, I came to know his photographic work, the performative work and the way in which Mark really lives his practice." (Thelma Goldin quoted in E. Hardy “The Eye of L.A.,” Los Angeles Times, June 13, 2006, p. 16) Bradford seeks to establish his own identity in his work by drawing on notions of beauty and ethnicity. Thelma Goldin, curator at the Studio Museum Harlem, used the term “postblack” to describe the latest output of work by young African-American artists in a recent exhibition titled Freestyle which included Bradford’s work. Bradford’s artistic practice is influenced by his personal experiences growing up and eventually working in a beauty salon in South Los Angeles. He uses overlapping squares of cellophane and paper in ways that mimic the various dying, straightening and curling processes of the salon. Layered over salvaged remnants of posters and alongside collaged images from hairstyling magazines, the artist’s canvas is a composition of shimmering, variegated forms that shine through the uneven surface grid. Read More
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