拍品 16
  • 16

馬克·布拉德福德

估價
1,000,000 - 1,500,000 GBP
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描述

  • Mark Bradford
  • 《數值60》
  • 款識:畫家簽名、題款並紀年2010(背面)
  • 混合媒材,拼貼於畫布
  • 121.9 x 152.4公分;48 x 60英寸

來源

Sikkema Jenkins & Co., New York 

Acquired from the above by the present owner

展覽

Ohio, Wexner Center for the Arts; Boston, Institute of Contemporary Art; Chicago, Museum of Contemporary Art; Dallas, Dallas Museum of Art; and San Francisco, San Francisco Museum of Modern Art, Mark Bradford, May 2010 - May 2012, n.p., no. 43, illustrated in colour

Condition

Colour: The colour in the catalogue illustration is fairly accurate, although the red tones tend more towards pink, the blue tones towards the left vertical edge are less saturated and the orange tones are bright and more vibrant in the original. The catalogue illustration fails to convey the textural quality of the work. Condition: Please refer to the department for a professional condition report.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
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拍品資料及來源

Mark Bradford’s Value 60 holds within its layers of collage all the alluring subtlety of a white impasto by Robert Ryman, the procedural ingenuity of Gerhard Richter, the striking thematic wall-power of Jasper Johns and the epic serenity of Yayoi Kusama. However, shunning the traditional medium championed by these artists, this work – in line with Bradford’s greater production – stages a meticulous excavation of the vestiges of everyday life, enacted through a highly considered, detailed, and labour-intensive process. Executed in 2009, Value 60 is clothed in the camouflage of a repetitive cycle of addition and subtraction; Bradford’s chosen media is simultaneously revealed and obscured by the horizontal strata that emerge as an architectural framework of compositional organisation. Glimpses of the artist’s source material, culled from the detritus of his Leimert Park neighbourhood in Los Angeles, are abstracted under the structuring rule of his facture; the inherently discordant layering of disparate images is here wholly ordered by Bradford’s fastidious method of creation. Forging together a disciplined mathematical spatiality with a poetic dispersion of colour through the torn debris of Bradford's diverse found materials, Value 60 encapsulates the artist’s inimitable response to the urban networks and topographies that are absolutely integral to who he is and what he creates.

Integrally connected to such varied sources as the histories of abstraction, cartography, and urban design, Bradford’s distinctive practice is, above all, informed by the materials he uses. While his works are considered within the medium of painting, Bradford's methods cannot be described as painting in the traditional sense. He eschews brushes of any size or shape; similarly, paint in its various forms – oil, acrylic, watercolour – has no place on the surface of his expansive canvases. In lieu of these conventional media, Bradford’s labyrinthine compositions are a direct result of the artist’s immediate surroundings. Working from a deliberately concentrated area directly adjacent to his studio, Bradford gathers a compendium of found materials, primarily paper, which determine the parameters of each distinct work and serve as the building blocks of his intricate and indelibly engaging final paintings.

Urbanity, specifically the realities of urban life in Los Angeles where Bradford was born and continues to live and work today, has informed the very core of his practice both philosophically and aesthetically. His artistic arsenal is composed of literal fragments of urban life, and the configurations that result from his distinctive practice often allude to the physical makeup of his native city, a dense and distinctly metropolitan network of interwoven zones. In this vein, Value 60, with the overwhelming regularity of its geometry, projects a sort of utopian metropolis, as if the chaos of cosmopolitan life could be subsumed within the structuring power of Bradford’s compositional order. Robert Storr, in an essay to accompany Bradford’s major 2010-12 travelling retrospective exhibition, identified three foundational subjects of abstract art: art itself; the city; and utopia (Robert Storr, ‘And what I assume you shall see…’, in: Exh. Cat., Ohio, Wexner Center for the Arts, Ohio State University (and travelling), Mark Bradford, 2010, p. 59). By this classification,Value 60 encapsulates the critical tenets of abstraction and thus represents the whole of Mark Bradford’s oeuvre which, since his first solo exhibition at L.A.’s Deep River Gallery in 1998, has built upon that paramount art historical genre, effectively making it his own. Throughout his fundamentally ground-breaking career, Mark Bradford has continued to pursue new frontiers of abstraction, creating a corpus of truly stunning works that encapsulate within their borders the full breadth of this pioneering search.