... the shear complexity of his canvas’ and by turn our planet, cities and personal worlds. Simultaneously intimate and monumental his works ask us to consider emerging information structures and the “TV-Industrial complex” (Seth Goodwin) that they are replacing.
Both Abstract Expressionism and America are frequent references within his works. But these are not straight forward references, what we find are fractured images, intensely reworked, multilayered, eroded and rebuilt. Perhaps they suggest that America is entering a phase of reexamination of its complex make up, divisions and shared values. The emergence of a new contemporary history.
Following its Wexner Center debut, this exhibition will tour to the Institute of Contemporary Art in Boston (November 19, 2010’March 13, 2011), the Museum of Contemporary Art in Chicago (summer 2011), the Dallas Museum of Art (October 16, 2011’January 15, 2012), and the San Francisco Museum of Modern Art (February 18’May 20, 2012).
An extensive website has been developed by the Wexner which explores Marks Bradford’s background and his practice in depth. http://www.pinocchioisonfire.org/
The fully illustrated catalogue that accompanies the show will be the most comprehensive treatment of Bradford’s work to date, featuring essays by Christopher Bedford, Robert Storr, Richard Shiff, Katy Siegel, and Hilton Als, as well as two interviews with the artist by Carol S. Eliel and Hamza Walker.