Have you ever thought about it for a minute- like wow, I am so fucking lucky to be alive. Isn’t it amazing that we are born who we are? I’ve never been able to get over that. If one little thing would have gone differently in my parents’ life, I wouldn’t be here. I cannot…
Robert Ryman: Surface Veil, 1970-1971
22 x 29 inches, oil on fiberglass with waxed paper frame and masking tape. Collection SFMOMA.
Mark Bradford’s large-scale paintings emerge from the urban landscape, rooted in his personal history as a third-generation resident of South Central Los Angeles. In this video, Mark discusses the meaning of the term “bad ass” and how his painting of the same name was made.
Mark Bradford (American, b. 1961), Untitled, 2002. Acrylic, permanent weave end paper, silver coated paper collage, printed paper collage and felt-tip pen on canvas, 72 x 84 in.
Few artists have used mapping as an artistic practice to the effect that Mark Bradford has, weaving the visual and social landscapes of urban societies into the layers of his collage paintings.
what I find so interesting about Bradford work is that I see a commentary on the mass consumption of society against the mass ‘generation of trash’, as a large amount of his work uses found papers (flyers, peices of rubbish etc) from the streets of LA where he grew up and where his studio is now located. Also it highlights another contradiction, as most people think of Los Angeles and think of wealth, celebrity and a desired lifestyle, but a complete contrast can be found on the streets where Bradford collects his material. As those neighbourhoods have been partly left derelict after the 1992 LA riots.