- 16
馬克·布拉德福德
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
Acquired from the above by the present owner
展覽
Condition
"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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
拍品資料及來源
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.