Ocula MagazineContentsView All
Featured ContentView All
Cinga Samson: ‘a different conversation on representation’ Ocula Conversation Cinga Samson: ‘a different conversation on representation’ By Jareh Das, New York

Cinga Samson 's paintings lay bare the complex relationship between contemporary life, African traditions, globalisation, and representation. His strikingly sombre portraits contain similarities to those of contemporary painters such as Toyin Ojih Odutola, Lynette Yiadom-Boakye , Kehinde Wiley , Florine Démosthène, and Tunji...

Fade out copy.
Read More
Dhaka Art Summit 2020: Seismic Movements Ocula Report Dhaka Art Summit 2020: Seismic Movements By Radha Mahendru, Dhaka

Seismic Movements , the fifth Dhaka Art Summit, plotted movements, solidarities, and exchanges across the Global South with over 500 artists, scholars, curators, and thinkers.

Fade out copy.
Read More
Danh Vo at Winsing Art Place, Taipei: Exhibition Walkthrough Ocula Insight
Sponsored Content | Winsing Art Foundation
Danh Vo at Winsing Art Place, Taipei: Exhibition Walkthrough

At the freshly opened Winsing Art Place in Taipei, works by Vietnamese-Danish artist Danh Vo are being presented in Taiwan for the first time. In this video, the founder of Winsing Arts Foundation, Jenny Yeh, introduces Vo's exhibition.

Fade out copy.
Read More
HomePage Magazine Conversations
Conversation  |  Artist, USA

Mark Bradford

In Conversation with
Sam Gaskin
Shanghai, 25 March 2015
© Mark Bradford. Courtesy of the artist
© Mark Bradford. Courtesy of the artist

Born in Los Angeles in 1961, Mark Bradford creates paintings without paint. Earlier in his career he used street merchant posters and hair salon end papers, sticking them to canvases and then tearing them away and sanding them down. The resulting works are abstracts imbued with subtle traces of cultural specificities.

Having won the MacArthur Foundation Award in 2009, and received the US Department of State’s Medal of Arts earlier this year, he is also an important public artist. His sculptures include an ark he made in New Orleans after Hurricane Katrina, and a wooden Jumbotron he installed at LAX. The latter’s commentary on surveillance is a real coup, a work that seems far too wry to have been approved for such a humourless environs.

Outside America, Bradford is currently showing at the Sharjah Biennial (until 5 June 2015), and is in the midst of his first solo show in China, Tears of a Tree

. Curated by Clara Kim, the show is taking place at the Rockbund Art Museum, Shanghai until 3 May 2015.

The social context in which I make my work—including the story of the materials, which are not scavenged or found—is all part of a larger picture, which fundamentally drives my practice. In terms of the actual creation of my artwork, those gaps are not so important. There are a number of materials used to create my art. However, the exact history and historical value of my materials is not so essential, even though those factors do reveal something about the context or landscape from which a work is made.

Exhibition view, Mark Bradford, Tears of a Tree, at the Rockbund Art Museum, Shanghai, 2015. 

The Loop of Deep Waters—eight paper buoys commissioned for the show—was inspired by the Huangpu River. You’ve said that waterways constitute historic infrastructure, older than any airport, highway or cargo crane. Why was Shanghai's history such a focus for your show, when there is so much talk about its present and its future?

In researching my Rockbund show, I spent time walking around the historical neighbourhoods and walking along the river. I was inspired by Shanghai's rich past and by its visual beauty—especially, in the way that this thriving 21st century city surges forth on the historical patchwork of traditional Shanghai.

Your works appear grounded in ethnographic exploration, and are often somewhat representational—from the glimpses of the source materials’ original images to the clear grid of the map in Falling Horses, to the forms of the Jumbotron and Ark in your public works. Are you really an abstract artist?

In my mind I am an abstract painter, but I mine the framework and ideologies of painting’s history. I have never believed that abstract painting can exist independent of its social context or history. Making abstract painting within a social context has always been a primary concern of my studio practice. 

Exhibition view, Mark Bradford, Tears of a Tree, at the Rockbund Art Museum, Shanghai, 2015. 

In the conversation with Clara Kim at Rockbund you talked about wanting to be an abstract artist because you didn’t see other black abstract artists around you. Are their still expectations that people from certain ethnic groups make certain kinds of art?

That has been changing, thank god. —[O]

Sign up to be notified when new articles like this one are published in Ocula Magazine.


Scan the QR Code via WeChat to follow Ocula's official account.

Scan to follow Ocula on WeChat.
iCal GoogleYahooOutlook