Mark Bradford: Exploring Urban Layers and Social Commentary
Mark Bradford has firmly established himself as one of the most significant contemporary artists of our time. Known for his large-scale, mixed-media works that layer and abstract everyday materials, Bradford’s art transcends traditional boundaries, merging the personal with the political and the aesthetic with the social. Born in Los Angeles in 1961, Bradford’s journey into the art world is as unique as his artistic approach. His work reflects the complexities of urban life, drawing upon his experiences growing up in a racially diverse and economically challenged neighborhood. Bradford’s ability to transform the mundane into profound visual statements has earned him international acclaim, positioning him as a crucial voice in the ongoing dialogue about race, class, and the dynamics of urban environments.
Bradford’s art is deeply rooted in the fabric of urban life. He often employs materials sourced directly from his surroundings, such as billboard paper, posters, and even endpapers from hair salons—an homage to his early years working in his mother’s salon. These materials, layered and manipulated, form intricate, textured surfaces that evoke the physical and social landscapes of the city. Through his use of found materials, Bradford not only creates visually compelling works but also embeds within them the narratives and histories of the communities from which they are drawn. His art serves as a powerful commentary on the forces that shape urban life, from gentrification and economic disparity to media representation and the visibility of marginalized groups.
The significance of Bradford’s work lies in its ability to address these complex social and urban issues in a way that is both accessible and deeply resonant. His art invites viewers to look beyond the surface, to consider the layers of meaning embedded within each piece, and to reflect on the broader social and political contexts that inform his work. Whether through the chaotic, fragmented surfaces of his large canvases or the haunting abstraction of historical events in his public installations, Bradford’s art challenges us to confront the realities of urban life and the systemic inequalities that underpin it.
The purpose of this blog is to delve into the unique artistic approach of Mark Bradford and to explore the themes he addresses through his work. By examining his background, techniques, and key works, we will gain a deeper understanding of how Bradford uses art as a tool for social commentary and how his innovative use of materials and abstraction has influenced the contemporary art landscape. We will also consider the impact of his work on discussions of race, class, and urban development, highlighting his contributions to both the art world and broader social discourse.
Bradford’s work is more than just a reflection of the world around him; it is an active engagement with it. His art speaks to the power of creativity as a means of addressing social issues, and his ability to transform the detritus of urban life into profound artistic statements underscores the potential of art to drive conversation and inspire change. As we explore Bradford’s oeuvre, we will see how his unique blend of personal experience, social critique, and artistic innovation continues to push the boundaries of contemporary art and provides a critical lens through which to view the complexities of modern urban life.
Mark Bradford’s Background and Artistic Journey
Early Life and Influences
Mark Bradford was born in Los Angeles in 1961, a city known for its sprawling urban landscape, cultural diversity, and complex social dynamics. Growing up in South Los Angeles, Bradford was immersed in a community marked by both vibrancy and struggle. This environment profoundly influenced his worldview and would later become a significant source of inspiration for his art. His mother owned a hair salon, where Bradford spent much of his youth, an experience that deeply informed his artistic practice. The salon was more than just a place of business; it was a communal space where stories were shared, and identities were formed. This environment introduced Bradford to the textures, materials, and rhythms of urban life, elements that would later become central to his work.
The hair salon played a crucial role in shaping Bradford’s approach to art. The endpapers used in hair treatments, the clippings from magazines, and the remnants of posters and advertisements all became materials that Bradford would later incorporate into his large-scale, mixed-media works. These materials, often discarded and overlooked, resonated with Bradford’s experiences of growing up in a community that was similarly marginalized and neglected by broader society. His use of these materials can be seen as a metaphor for the resilience and creativity of those communities, transforming the ordinary into something extraordinary, and giving voice to stories that might otherwise go untold.
In addition to the influence of his early environment, Bradford was also shaped by a range of artistic and intellectual influences. He was drawn to the work of abstract expressionists like Jackson Pollock and Willem de Kooning, whose gestural, non-representational paintings resonated with Bradford’s own interest in abstraction and texture. At the same time, he was influenced by the conceptual and socially engaged art of artists like David Hammons, whose work often addressed issues of race, identity, and social justice. These influences helped Bradford to develop a practice that was both deeply personal and politically engaged, using abstraction as a means of exploring complex social issues.
Transition to Fine Art
Despite his early exposure to the materials and textures of urban life, Bradford did not initially set out to become a fine artist. After high school, he worked in his mother’s salon and pursued a career as a hairdresser, a path that seemed both familiar and accessible. However, his creative impulses gradually led him to explore art more seriously. In his late twenties, Bradford enrolled at the California Institute of the Arts (CalArts), a decision that marked a turning point in his life and career. It was here that Bradford began to experiment more deliberately with the materials he had grown up with, integrating them into his art in ways that were both innovative and deeply connected to his personal history.
At CalArts, Bradford developed his signature style, characterized by the use of found materials—such as billboard paper, endpapers, and other remnants of urban life—that he would layer, tear, and sand to create complex, textured surfaces. This technique allowed him to explore the themes of urban decay, social stratification, and the invisibility of marginalized communities, all while pushing the boundaries of traditional painting and collage. His works, which often resemble aerial views of cityscapes, evoke the physical and social layers of the urban environment, with all its complexities and contradictions.
Bradford’s transition from the salon to the art studio was not just a shift in career but also a transformation of perspective. He brought with him the tactile knowledge and cultural insights gained from his early life, using them to create works that are both visually striking and rich with social commentary. His art challenges the viewer to look beyond the surface, to consider the stories embedded within the layers of material, and to engage with the social realities that those materials represent.
In the years since his time at CalArts, Bradford has continued to evolve as an artist, but his work remains rooted in the experiences and influences of his early life. His ability to transform everyday materials into powerful artistic statements has made him one of the most important voices in contemporary art, and his journey from the hair salon to the global art stage is a testament to the transformative power of creativity and the importance of remaining connected to one’s roots. Through his art, Bradford offers a unique lens on the world, one that is both deeply personal and profoundly engaged with the social issues of our time.
Artistic Techniques and Materials
Use of Found Materials
Mark Bradford’s art is deeply rooted in the use of found materials, a practice that reflects his connection to the urban environments in which he grew up and continues to work. Rather than relying on traditional art supplies, Bradford sources materials from the streets of Los Angeles—posters, billboard paper, merchant posters, maps, and even the endpapers used in hair salons. These everyday materials, often overlooked and discarded, become the building blocks of his large-scale, mixed-media works, imbuing them with a raw authenticity and a direct connection to the urban experience.
Bradford’s use of found materials is not merely an aesthetic choice; it is a deliberate act of cultural and social commentary. By repurposing materials that are part of the urban landscape, he brings attention to the often-invisible stories and histories embedded within them. The posters and billboards he collects, for instance, are remnants of commercial messages and public communications, many of which are aimed at marginalized communities. By incorporating these elements into his work, Bradford highlights the intersection of commerce, race, and social dynamics, exposing how these forces shape and define urban life.
One of the most significant aspects of Bradford’s use of found materials is the way they reflect the transient nature of urban culture. Just as posters are pasted up, torn down, and replaced in the city, Bradford’s works undergo a similar process of layering, tearing, and reconfiguration. This process mirrors the constant flux and change in urban environments, where neighborhoods evolve, populations shift, and the physical landscape is continually reshaped by social and economic forces. Through his art, Bradford captures this sense of impermanence and transformation, offering a visual metaphor for the instability and resilience of urban communities.
Layering and Abstraction
Layering is a fundamental technique in Mark Bradford’s work, both conceptually and physically. His process involves applying layer upon layer of found materials, which he then sands, gouges, and tears away to reveal the underlying textures and colors. This method of construction and deconstruction creates a richly textured surface that is simultaneously chaotic and ordered, echoing the complexities of the urban environments he seeks to represent.
The act of layering in Bradford’s work is symbolic of the multi-layered nature of urban life and the social issues that pervade it. Each layer in his art can be seen as a different stratum of society—whether it’s the voices of marginalized communities, the impacts of economic policy, or the remnants of cultural history. By building up these layers and then partially erasing them, Bradford reveals the hidden histories and suppressed voices that exist beneath the surface of urban life. This process of revealing and concealing mirrors the way social issues are often obscured or overlooked in public discourse, only to be brought to light through acts of protest, art, or personal testimony.
Bradford’s approach to abstraction is also closely tied to his layering technique. While his works are often rooted in specific social and urban themes, they are not representational in a traditional sense. Instead, Bradford uses abstraction as a means of distilling complex ideas into visual form, allowing viewers to engage with the work on an intuitive and emotional level. The abstract forms and patterns that emerge from his layered surfaces evoke the physical and social landscapes of the city, with their intricate networks of streets, buildings, and communities. At the same time, these forms also suggest broader themes of fragmentation, displacement, and resilience, inviting viewers to consider the underlying social dynamics that shape urban life.
The physicality of Bradford’s work—its weight, texture, and scale—also plays a crucial role in its impact. His large canvases, often stretching several feet in height and width, confront the viewer with a visceral sense of the urban experience. The textures and layers invite close inspection, drawing the viewer into the work and encouraging them to explore its depths. This engagement with the materiality of the work mirrors the way one might navigate a city, encountering its textures, sounds, and stories along the way.
In summary, Mark Bradford’s artistic techniques and materials are deeply intertwined with the themes he explores in his work. His use of found materials from the urban environment, combined with his technique of layering and abstraction, allows him to create works that are both visually striking and rich with social and cultural meaning. Through his art, Bradford transforms the everyday detritus of the city into powerful statements about the complexity of urban life, the struggles of marginalized communities, and the forces that shape our social and physical landscapes. His work challenges viewers to look beyond the surface, to consider the layers of meaning embedded within each piece, and to engage with the broader social issues that his art so compellingly addresses.
Social Commentary in Bradford’s Work
Addressing Urban Inequality
Mark Bradford’s art is deeply engaged with issues of urban inequality, using his large-scale, layered works to highlight the racial and economic disparities that define many urban environments. Growing up in South Los Angeles, Bradford was acutely aware of the ways in which systemic racism and economic disenfranchisement shaped the lives of those around him. His art reflects a commitment to bringing these issues to the forefront, challenging viewers to confront the realities of inequality that are often ignored or overlooked in broader societal discussions.
One of the key themes in Bradford’s work is the impact of gentrification on urban communities. Gentrification, the process by which wealthier individuals move into historically marginalized neighborhoods, often leads to the displacement of long-term residents who can no longer afford to live in their homes. Bradford’s works, such as Helter Skelter I (2007), engage with the chaos and disruption caused by gentrification. In Helter Skelter I, Bradford uses layers of torn paper and billboard fragments to create a chaotic, fragmented surface that mirrors the upheaval experienced by communities facing displacement. The work’s title, referencing the Charles Manson murders, further evokes a sense of violent disruption, suggesting the profound and often traumatic impact of gentrification on urban neighborhoods.
Bradford also addresses the issue of housing insecurity in his work. In Scorched Earth (2006), he explores the legacy of the 1921 Tulsa Race Massacre, in which a prosperous African American community was destroyed by a white mob. The work serves as a powerful reminder of the violence that has historically been used to enforce racial segregation and economic inequality in America. By referencing this historical event, Bradford draws a direct line between past and present, suggesting that the forces that shaped the Tulsa massacre are still at work in contemporary society, manifesting in the ongoing struggles for housing and economic security in marginalized communities.
Another powerful example of Bradford’s engagement with urban inequality is Man’s Cotton (2002), a work that explores the exploitation of labor in the context of urban life. The piece is made from endpapers, which are typically used in hair salons to protect the hair during chemical treatments. By using these materials, Bradford alludes to the often-invisible labor of marginalized workers, many of whom are women of color. The work’s abstract, grid-like structure can be seen as a reference to the rigid social hierarchies that govern urban life, trapping individuals in cycles of poverty and exploitation.
Commentary on Media and Representation
In addition to addressing issues of urban inequality, Bradford’s work also offers a powerful critique of media representation and its impact on marginalized communities. Bradford is particularly interested in the ways in which media shapes public perceptions of race, class, and identity, often perpetuating harmful stereotypes and reinforcing systems of oppression.
One of the central themes in Bradford’s critique of media representation is the concept of visibility and invisibility. In a society dominated by mass media, certain narratives and images are amplified, while others are rendered invisible. Bradford’s work seeks to challenge this dynamic by bringing the stories and experiences of marginalized communities to the forefront. His use of found materials, many of which are remnants of commercial and public media, allows him to engage directly with the messages that circulate in the public sphere, deconstructing and recontextualizing them in ways that reveal their underlying biases.
A prime example of Bradford’s engagement with media representation is his work Mithra (2008), a monumental ark made from salvaged plywood and roofing materials, created for the Prospect.1 Biennial in New Orleans. The piece was installed in a neighborhood that had been devastated by Hurricane Katrina, a disaster that highlighted the failures of both the government and the media in addressing the needs of marginalized communities. Mithra serves as a stark commentary on the media’s role in shaping public perceptions of the disaster, questioning the narratives that were constructed around the event and the ways in which the voices of those most affected were silenced or ignored.
Another work that explores themes of visibility and invisibility is Merchant Posters (2015), a series of pieces created from the posters used by local merchants in Los Angeles to advertise their businesses. These posters, often found in economically disadvantaged neighborhoods, are a form of grassroots communication that is frequently overlooked by mainstream media. By incorporating them into his art, Bradford elevates these humble materials, giving visibility to the communities they represent and challenging the dominance of commercial media in shaping public discourse.
Bradford’s critique of media representation also extends to the ways in which black masculinity is portrayed in popular culture. In works like Spiderman (2015), Bradford uses layers of paper and paint to create abstract forms that evoke the image of the superhero. However, rather than glorifying the figure, Bradford’s work complicates the narrative, suggesting the tensions and contradictions inherent in the portrayal of black men as both powerful and vulnerable. By deconstructing the superhero image, Bradford questions the ways in which black masculinity is constructed and consumed in the media, revealing the complexities and challenges that lie beneath the surface.
Through his engagement with media representation, Bradford challenges viewers to question the images and narratives that shape their understanding of the world. His work exposes the biases and inequalities embedded in media, while also offering a space for alternative stories and voices to be heard. By doing so, Bradford’s art not only critiques the existing power structures but also creates a platform for new forms of representation that are more inclusive and equitable.
Mark Bradford’s work is a profound exploration of social commentary, using his art to address issues of urban inequality and media representation. Through his innovative use of materials and techniques, Bradford brings attention to the complexities of urban life, the struggles of marginalized communities, and the power dynamics that shape our understanding of the world. His work invites viewers to look beyond the surface, to engage with the deeper social and political issues that inform his art, and to reflect on the ways in which we can work towards a more just and equitable society.
Notable Works and Exhibitions
"Scorched Earth"
"Scorched Earth" is one of Mark Bradford’s most significant works, serving as a profound commentary on race relations in America. Created in 2006, the piece was part of a larger exhibition at the Whitney Museum of American Art that explored themes of violence, memory, and the African American experience. The work’s title references the destructive military strategy of burning and destroying resources to prevent enemy use, but Bradford’s interpretation extends this concept to the systemic destruction of Black communities throughout American history.
"Scorched Earth" consists of layered paper, posters, and other found materials that have been manipulated, torn, and reassembled into a large-scale, abstract composition. The surface of the work is marked by deep cuts and gouges, evoking the scars left by historical and ongoing racial violence. The rough, distressed texture of the piece reflects the trauma endured by Black communities, while the abstract nature of the work invites viewers to engage with it on both an emotional and intellectual level.
The impact of "Scorched Earth" in the art world was significant. It was widely praised for its ability to address complex social issues through abstraction, a method that allows Bradford to engage with history in a way that is both deeply personal and universally resonant. Critics highlighted how the work confronts viewers with the harsh realities of racial injustice while also offering a space for reflection and contemplation. The piece challenges traditional narratives of American history by centering the experiences of those who have been marginalized and oppressed, making it a powerful statement on the legacy of racism in the United States.
The reception of "Scorched Earth" solidified Bradford’s reputation as an artist capable of addressing difficult and timely issues with both sensitivity and force. The work continues to be relevant, particularly in the context of contemporary discussions about race, inequality, and the historical erasure of Black communities. Through "Scorched Earth," Bradford not only memorializes the past but also calls attention to the ongoing struggles for justice and equality in America.
"Pickett’s Charge"
"Pickett’s Charge" is another landmark work in Mark Bradford’s career, offering a reinterpretation of historical events through his distinctive abstract lens. This monumental piece was commissioned by the Smithsonian’s Hirshhorn Museum and Sculpture Garden in Washington, D.C., and unveiled in 2017. It spans nearly 400 feet and wraps around the museum’s third-floor gallery, immersing viewers in a panoramic installation that reimagines the infamous Civil War battle led by Confederate General George Pickett during the Battle of Gettysburg.
Bradford’s "Pickett’s Charge" is based on a 19th-century cyclorama painting by Paul Philippoteaux, which was designed to give viewers a 360-degree experience of the battle. Rather than replicating the original, Bradford deconstructs and abstracts the historical imagery, layering it with his own materials and techniques. The result is a series of eight large, mixed-media panels that combine reproductions of the cyclorama with Bradford’s signature use of torn paper, billboard fragments, and other urban detritus. These materials are layered, sanded, and torn, creating a dynamic and fragmented surface that reflects the chaos and violence of the battle.
The significance of "Pickett’s Charge" lies in Bradford’s ability to connect the historical event to contemporary issues. The work raises questions about the ways in which history is remembered, represented, and mythologized, particularly in the context of America’s ongoing struggles with race, nationalism, and identity. By abstracting the imagery of the battle, Bradford disrupts the traditional narrative of the Civil War as a conflict fought solely over political and economic issues, instead highlighting the racial and social dimensions that continue to resonate today.
"Pickett’s Charge" was met with critical acclaim for its innovative approach to historical interpretation. The work challenges viewers to reconsider the narratives they have been taught and to reflect on the broader implications of those stories in the present day. It also underscores Bradford’s interest in the ways history is constructed and the role of art in shaping collective memory. The installation’s immersive scale and the physicality of its materials create an overwhelming sensory experience, drawing viewers into a dialogue about the past and its impact on contemporary society.
Through works like "Scorched Earth" and "Pickett’s Charge," Mark Bradford has established himself as a master of using abstraction to explore and comment on social and historical issues. These pieces exemplify his ability to take complex, often painful subjects and render them in ways that are both intellectually challenging and emotionally powerful. Bradford’s art does not offer easy answers or comforting resolutions; instead, it invites viewers to confront difficult truths and to engage with the ongoing work of understanding and addressing the legacies of inequality and injustice.
Impact on Contemporary Art and Society
Influence on Contemporary Art
Mark Bradford’s innovative use of materials and techniques has left an indelible mark on the contemporary art world. By incorporating everyday materials like billboard paper, posters, and even endpapers from hair salons into his work, Bradford has expanded the possibilities of what mixed-media art can be. His approach challenges the traditional boundaries of painting and sculpture, creating a hybrid form that is both tactile and conceptual, abstract yet deeply connected to the social realities of urban life.
Bradford’s work has inspired a new generation of artists to experiment with unconventional materials and to explore the social and political implications of their art. His ability to transform discarded, overlooked materials into powerful visual statements has encouraged other artists to consider the potential of their surroundings as sources of inspiration. The physicality and texture of Bradford’s work, combined with its intellectual rigor, have made him a role model for artists who seek to engage with contemporary issues in a way that is both visually compelling and socially relevant.
Moreover, Bradford’s practice of layering and abstraction has influenced how contemporary artists think about space, depth, and narrative in their work. His method of building up and tearing away layers to reveal hidden textures and meanings has become a signature technique that others have adopted and adapted in their own practices. This approach not only adds a sense of complexity and dynamism to the work but also serves as a metaphor for the social and historical layers that shape our understanding of the world.
Contributions to Social Discourse
Beyond his influence on the art world, Mark Bradford has made significant contributions to social discourse through both his art and his public projects. His work consistently engages with pressing social issues such as race, class, and urban inequality, offering a platform for conversations that are often marginalized or overlooked in mainstream media and culture. Bradford’s art is not just a reflection of the world; it is an active engagement with it, challenging viewers to confront uncomfortable truths and to think critically about the structures of power that shape our lives.
One of the most notable aspects of Bradford’s work is its focus on the experiences of marginalized communities. By using materials sourced from urban environments, Bradford brings the realities of these communities into the gallery space, making them visible to audiences who might otherwise be unaware of or disconnected from these issues. His work addresses the systemic inequalities that affect these communities, from gentrification and housing insecurity to the impacts of media representation and public policy.
Bradford’s public projects, such as his involvement in the creation of the nonprofit art space Art + Practice in Los Angeles, further demonstrate his commitment to social engagement. Art + Practice combines contemporary art exhibitions with social services for foster youth, providing a space where art and activism intersect. This initiative reflects Bradford’s belief in the power of art to effect change, not just within the confines of the gallery but in the broader community as well.
The lasting impact of Bradford’s work on social discourse is evident in the ways it continues to provoke thought and inspire action. His art challenges viewers to reconsider their assumptions about race, class, and urban life, encouraging a deeper understanding of the complexities of these issues. By bringing these conversations into the art world, Bradford has helped to broaden the scope of what art can do, positioning it as a vital tool for social commentary and activism.
Bradford’s contributions to both contemporary art and social discourse have cemented his place as one of the most important artists of our time. His work transcends the boundaries of art and activism, creating a space where the two can coexist and inform each other. As a result, Bradford has not only expanded the possibilities of mixed-media art but has also made a lasting impact on the ways in which art can engage with and influence society. His legacy will undoubtedly continue to inspire future generations of artists and activists, who will look to his work as a model for how art can be both aesthetically innovative and socially impactful.
A Powerful Figure in the Contemporary Art World
Mark Bradford stands as a powerful figure in the contemporary art world, not only for his innovative artistic techniques but also for the profound social commentary embedded within his work. By transforming everyday, often discarded materials into complex, layered compositions, Bradford challenges traditional notions of what art can be, pushing the boundaries of mixed-media and abstract art. His unique approach, rooted in the physical and social textures of urban life, offers a window into the struggles and triumphs of marginalized communities, particularly those shaped by the forces of racial and economic inequality.
Bradford’s art is significant not just for its aesthetic qualities but for the way it engages with pressing social and urban issues. His work speaks directly to the experiences of those who live in the shadow of systemic injustice, making visible the often-invisible narratives of displacement, poverty, and racial discrimination. Through his use of materials like billboard paper and endpapers, Bradford weaves together the personal and the political, creating works that resonate with viewers on multiple levels. His art compels us to look deeper, to peel back the layers and uncover the complex realities that lie beneath the surface of our cities and societies.
Engaging with Bradford’s work is crucial for anyone seeking to understand the contemporary social challenges we face today. His art provides a unique lens through which we can examine issues such as gentrification, media representation, and the ongoing struggle for racial equality. By abstracting these themes, Bradford allows us to connect with them in a more visceral and emotional way, making the impact of these issues not just intellectually understood but also deeply felt. His work serves as a reminder that art is not just a reflection of the world but a tool for understanding and, ultimately, for change.
For those who are unfamiliar with Mark Bradford’s work, exploring his art is an invitation to engage with the world in a new way. His pieces challenge us to reconsider our assumptions, to question the narratives we have been told, and to think critically about the structures of power that shape our lives. Whether through the chaotic surfaces of his canvases or the profound commentary embedded in his public projects, Bradford’s art offers a compelling commentary on the world we live in—a world marked by inequality, but also by resilience and creativity.
As we continue to navigate the complexities of contemporary society, Bradford’s work remains as relevant as ever. It not only addresses the social and urban issues of our time but also inspires us to imagine new possibilities for the future. By exploring Bradford’s art, we are reminded of the power of creativity to illuminate the darkest corners of our world, to give voice to the voiceless, and to inspire action. His work encourages us to look beyond the surface, to engage with the deeper issues at play, and to take part in the ongoing dialogue about how we can build a more just and equitable society.
Bibliography
Schwendener, Martha. “Mark Bradford, Artist Who Paints with Paper.” The New York Times, 19 Dec. 2007, www.nytimes.com/2007/12/19/arts/design/19brad.html.
Cotter, Holland. “A Master of the Abstract: Mark Bradford’s Imposing Vision.” The New York Times, 18 May 2015, www.nytimes.com/2015/05/18/arts/design/mark-bradfords-imposing-vision.html.
Vankin, Deborah. “Artist Mark Bradford Gets to the Truth Layer by Layer.” Los Angeles Times, 8 May 2015, www.latimes.com/entertainment/arts/la-ca-cm-mark-bradford-20150510-story.html.
Boucher, Brian. “Mark Bradford’s ‘Pickett’s Charge’ Is a Monumental Reimagining of History.” Artsy, 16 Nov. 2017, www.artsy.net/article/artsy-editorial-mark-bradfords-picketts-charge-monumental-reimagining-history.
Harris, Gareth. “Mark Bradford: An Artist Who Paints the Social Fabric.” The Financial Times, 24 May 2019, www.ft.com/content/c8c3b1b2-7813-11e9-be7d-6d846537acab.
Wullschlager, Jackie. “Mark Bradford, the Artist Who Refuses to Be Silent.” The Financial Times, 11 May 2019, www.ft.com/content/1d4f0d98-729b-11e9-be7d-6d846537acab.
Haider, Faiza. “Mark Bradford: Social and Political Messages in Abstraction.” Artland Magazine, 22 Nov. 2019, www.artland.com/magazine/mark-bradford-social-and-political-messages-in-abstraction/.
Godfrey, Mark. Mark Bradford. Yale University Press, 2018.
“Mark Bradford: Scorched Earth.” Whitney Museum of American Art, www.whitney.org/Exhibitions/MarkBradford.
Kinsella, Eileen. “Mark Bradford’s Monumental ‘Pickett’s Charge’ Opens at the Hirshhorn.” Artnet News, 8 Nov. 2017, news.artnet.com/art-world/mark-bradford-picketts-charge-hirshhorn-1134884.
