Wikipedia

Katherine Bradford

Katherine Bradford (born 1942), née Houston,[1] is an American artist based in New York City, known for figurative paintings, particularly of swimmers, that critics describe as simultaneously representational, abstract and metaphorical.[2][3][4][5] She began her art career relatively late and has received her widest recognition in her seventies.[6][7][8] Critic John Yau characterizes her work as independent of canon or genre dictates, open-ended in terms of process, and quirky in its humor and interior logic.[9][2]

Katherine Bradford
Bradford in 2021
Born1942
New York City, United States
EducationSUNY Purchase, Bryn Mawr College
Known forPainting
StyleFigurative art
Spouses
ChildrenArthur Bradford, Laura Bradford
AwardsJohn S. Guggenheim Fellowship, Joan Mitchell Foundation, American Academy of Arts and Letters, Pollock-Krasner Foundation, Rappaport Foundation Prize

Bradford has exhibited internationally, at venues including MoMA PS1,[10] Campoli Presti (London and Paris),[11] Modern Art Museum of Fort Worth,[12] Brooklyn Museum, Crystal Bridges Museum, and Tomio Koyama (Tokyo).[13][14] She has received awards from the John Simon Guggenheim, Joan Mitchell and Pollock-Krasner foundations and the American Academy of Arts and Letters.[15][16][17][18] Her work belongs to public art collections including the Metropolitan Museum of Art, Brooklyn Museum, Dallas Museum of Art, Institute of Contemporary Art, Boston, and Menil Collection, among others.[19][20][21][22]

Bradford lives with her spouse Jane O'Wyatt, in New York City and Brunswick, Maine, and works out of a studio in Williamsburg, Brooklyn.[23][24]

Early life and career

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Katherine Bradford, Couple No Shirts, acrylic on canvas, 60" x 48", 2018.

Bradford was born in 1942 in New York City and grew up in Connecticut.[25] When she was a child, her mother discouraged the "bohemian" life of the arts, despite Bradford's grandfather, Jacques André Fouilhoux, being a prominent architect.[26] After earning a BA at Bryn Mawr College, Bradford followed a conventional (1960s) path, marrying Peter A. Bradford and raising twins born in 1969;[27][28][14][29] her children are writer and filmmaker Arthur Bradford and Laura Bradford, who is a lawyer and law professor.[30][31][32] When the family moved to Maine in the early 1970s, she joined an art community there that included Lois Dodd and Yvonne Jacquette, among others.[26][27] Without training, she began creating abstract work concerned with markmaking, the materiality of paint, and the landscape tradition.[23][28][25] She also co-founded the Union of Maine Visual Artists (1975) and wrote art reviews for The Maine Times.[27][23]

In 1979, despite disapproval from her family, Bradford moved to New York City as a single mother to pursue art in closer contact with contemporary painting discourse. She enrolled in graduate studies at SUNY Purchase (MFA, 1987) and met her future spouse, Jane O'Wyatt, in 1990.[28][33][30][14] In the subsequent decade, she had solo exhibitions at the Victoria Munroe (New York), Zolla/Lieberman (Chicago), and Bernard Toale (Boston) galleries, and appeared in group shows at the Portland Museum of Art, Weatherspoon Art Museum and The Drawing Center.[34][35][36][37] In the 2000s, Bradford has exhibited at the CANADA, Sperone Westwater and Pace galleries in New York,[38] the Modern Art Museum of Fort Worth,[12] Galerie Haverkampf (Berlin),[39] Campoli Presti,[11] Kaufman Repetto (Milan),[40] and the New Orleans Biennial (Prospect.4, 2017),[41] among others.

In addition to artmaking, Bradford taught at Illinois State University, Ohio State University and SUNY Purchase, before joining the faculties at Fashion Institute of Technology (FIT) (1995–2011) and Pennsylvania Academy of Fine Arts (1997–2012).[31][42][27] She later taught at the Skowhegan School of Painting and Sculpture (2009) and Yale School of Art (2016–7).[31]

Work

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Bradford is best known for direct, casual, color-saturated paintings of swimmers, boats, and caped flying figures that are noted for their paint handling, rich color-field surfaces, theatrical sense of light, and oblique themes and narratives.[23][7] Critics suggest that she weights color, iconography and narrative equally in her work, privileging exploration and formal and metaphorical possibility over conclusiveness.[3][2][43]

Art in America's Robert Berlind characterizes her method as "predicated on a trust in possibilities beyond her conscious intentions or formal inclinations, and on a responsiveness to what shows up on the canvas."[44] Bradford has said that she does not begin with a plan, but rather draws on her ongoing vocabulary of forms, discovering each image through the painting process and intuition.[45][46] Artcritical editor David Cohen writes that she combines "the peculiar poetic charm and nonchalance of provisional painting with the energy, seriousness, and resolve of classic abstract painting"; he compares her formal evolution to Philip Guston's ("high-abstraction-to-low-realism") but differentiates her treatment of subjects as romantic, heartfelt, and whimsical.[4]

Early painting

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Katherine Bradford, Hydra Head, 2006, oil and acrylic on canvas, 11⅛" x 14⅛" (28.3 x 35.9 cm)

Bradford's early, modestly scaled paintings were largely abstract, employing irregular grids and rows of pictographic dots, spirals and crude letterforms set against vaporous surfaces akin to the meditative work of Mark Rothko.[34][47][48][36][37] Art in America's Stephen Westfall wrote that the paintings charted "a laconic course between abstraction, representation and collage," while New York Times critic Roberta Smith described their schematization of nature as "small, ruggedly made abstractions that are at once poetic and humorous."[34][47] Eileen Myles situated Bradford among a group of mainly female artists "reconstituting painting" through "wit, subversion and bad geometry."[49] In her late 1990s work, Bradford moved closer to iconographic representation, depicting box forms and figures with bold, heavy lines and a comedic or darkly humorous tone.[50][51][52]

Bradford received wider attention with work in the 2000s centered on marine imagery: ethereal ocean liners, sailboats, sea battles, and other-worldly aliens or vulnerable figures that suggested spiritual or intellectual illumination emerging out of darkness (e.g., Lake Sisters, 2004, Traveler, 2004 and Hydra Head, 2006).[2][53][54][55] Critics characterize these paintings as both mysterious and direct, with simple, ambiguously scaled and combined elements, fluid sea-sky realms, and surfaces of abraded brushstrokes, dabs and scumbling that evoke rather define form.[52][5][56][28] James Kalm describes them as combining "New England romantic realism with transparent fields of zippy new age color and subversive figuration," unified by unfussy, direct brushwork.[53]

Mid-career painting: ships and boats

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Katherine Bradford, Desire for Transport, oil on canvas, 54" x 72", 2007.

John Yau identified paintings in Bradford's 2007 show (Edward Thorp), such as Desire for Transport—a flotilla of seven boats floats carrying mysterious gowned figures on a blue-green sea—as "breakthrough" works for Bradford that synthesized "the bluntness of primitive painting, the directness of gestural mark-making [and] the gamut of expressionism" to create a sense of expectancy;[56][9][44] New York Times critic Ken Johnson wrote that the painted ships suggest "utopian collectivity, promising voyages of kindred spirits to unknown shores."[57]

Critics observe that Bradford's later marine paintings move further from representational picture-space toward more open-ended, abstract "painting-space."[58][2][59] In this work, unearthly lit, foreshortened, monolithic ships read equally as abstract, irregular trapezoids alluding to Minimalist sculpture, set against grounds that function as moody color fields and slabs of pure color (e.g., Titanic Orange Sea and Sargasso, both 2012).[2][58][60]

Superman paintings

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Katherine Bradford, Superman Responds, Night, oil on canvas, 48" x 36", 2011.

In the early 2010s, Bradford began painting plunging figures and idiosyncratic, caped "Superman" characters, set against soft color fields or atmospheric matte skies marked with star bursts and zigzags suggesting paths (e.g., Superman Responds, Night, 2011).[60][44][4] Her superhero images are described variously as "luminous and sumptuously tactile," goofy,[57] frumpy, vulnerable, and caught in a tentative state between flying and diving.[58][30][44] Robert Berlind characterized their style as "at once offhand and emblematic"; David Cohen wrote that Superman Responds (2011) conveys "a convincing if gender-bent voluptuousness" in a few carefree-seeming dabs with "disconcerting observational acumen" and anatomical precision.[44][4]

Writers differentiate the Superman paintings from Pop, cartoon or ironic work in both appearance and attitude, noting their qualities of warmth, vulnerability, reverie and metaphorical openness.[9][44][58] John Yau identifies them as knowing meditations on heroism, history and masculinity as "simultaneously powerful and impotent, idiotic and funny."[9][61] Other writers, however, suggest they represent new symbols of strength in vulnerability, visionary individualism, personal exploration, and perhaps, Bradford herself.[62][4][57]

Later painting: swimmers and figurative works

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Katherine Bradford, Fear of Waves, oil on canvas, 84" x 72", 2015.

Bradford's later work (e.g., her "Fear of Waves" exhibition, 2016) has evolved toward larger, more vibrant work, that Yau writes "transform[s] the whimsical into the catastrophic, its polar opposite, without losing [its] offhand humor."[63][64] Often painted in water-soluble acrylic—ideal for mimicking the effects of water in images of swimmers, bathers and surfers—these paintings take more formal risks, with complex compositions of multiple figures and divided grounds of otherworldly, nocturnal planetary-oceanic environments.[65][64][66][63]

In the near-monochrome painting Blue Swimmers (2015), Bradford submerges and crops ghostly, awkwardly human figures within washes of blue or green, complicating figure-ground relationships while alluding to themes of birth, life, and possibly, death.[65][67][63][68] Other paintings, like the diagonally divided, vertical Fear of Waves (2016), introduce an element of uncertainty or calamity whose specific threat and outcome remains a mystery; the bird's-eye view work depicts a crowd of swimmers fleeing giant, leftward-moving waves toward through a turquoise impasto, conveying a sense of insignificance against the unfathomable.[67][6][64][63]

Critics such as Lilly Wei identify Bradford's "Friends and Strangers" (2018), "Legs and Stripes" (2019) and "Mother Paintings" (2021) exhibitions as departures in terms of palette, process and collective themes, such as race, sexuality, gender and identity.[3][38][69][70] The former shows were characterized by vibrant pinks, magentas, purples and yellows, directly drawn thick outline, monumental scale, and the use of gesture and facial direction rather than expression to convey emotion.[3][38][69][71] In paintings such as Olympiad (2018), she experimented with colors mixed with fluorescent magenta paint and improbable arrangements of figures that balanced interests in how subjects fit together as abstract compositional elements and as potential social communities.[46][14][72] Works such as Choice of Heads (2019) and Couple No Shirts (2018) explored identity; in the latter, an androgynous, economically drawn couple serves to both imply universality and examine assumptions involving categorization and looking.[14][69][11]

Later painting: Mother Paintings

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Katherine Bradford, Bus Stop, acrylic on canvas, 72" x 60", 2021.

In 2021, Bradford had major shows at Canada ("Mother Paintings"),[73] the Carpenter Center for the Visual Arts,[74] and the Hall Art Foundation.[75] In the Canada show, she exhibited more moody, figurative paintings depicting varying degrees of familial intimacy and maternal feeling.[73][76][70] Critics considered these paintings a further step in a narrative trajectory toward interpersonal relationships—and for the first time—outside events, in this case, the COVID-19 pandemic.[73][77][76] Her figures remained ambiguous—somewhat crudely drawn in contour lines against monochromatic Rothko-like grounds—but dominate their frames more, connecting through spare gestures and contact that suggested lifetimes of affection and a heroic sense of care (e.g., Fever, Motherhood, and Mother's Lap).[70][76][73]

Awards, commissions and collections

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Bradford has been recognized with a Guggenheim Fellowship (2011),[27] a Rappaport Foundation Prize for New England artists,[78][13] and awards from the Joan Mitchell Foundation (2012), American Academy of Arts and Letters (2011, 2005), and Pollock-Krasner Foundation (2000).[16][17][18] In 2021, MTA Arts & Design commissioned Bradford to make glass mosaic murals for the First Avenue station of the New York City Subway's L train.[79] They include three large works collectively titled Queens of the Night—which depict figures in dancelike poses against a sapphire blue background—and two smaller works of flying superheroes, titled Superhero Responds.[79][80]

Bradford's work belongs to the public collections of the Metropolitan Museum of Art,[19] Brooklyn Museum,[20] Dallas Museum of Art,[81] Menil Collection, Portland Art Museum,[22] Addison Gallery of American Art,[82] Hall Art Foundation,[83] ICA Boston,[21] Pennsylvania Academy of the Fine Arts,[84] Portland Museum of Art (Maine),[85] Tang Museum, and several college museums, among others.

References

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  1. ^ Miss Houston. The Greenville News, 25 Feb 1968, p. 28. Retrieved 2021-04-29.
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  3. ^ a b c d Wei, Lilly. "Katherine Bradford: Friends and Strangers," The Brooklyn Rail, October 2018. Retrieved April 6, 2020.
  4. ^ a b c d e Cohen, David. "New Hero," artcritical, May 26, 2012. Retrieved April 2, 2020.
  5. ^ a b Johnson, Ken. "Everywhichway," The New York Times, July 7, 2006. Retrieved April 2, 2020.
  6. ^ a b Panero, James. "Gallery Chronicle (February 2016)," The New Criterion, February 2016. Retrieved April 6, 2020.
  7. ^ a b Zevitas, Steven. "15 Artists to Watch in 2015 (+3)," Huffington Post, December 12, 2014. Retrieved April 6, 2020.
  8. ^ Belcove, Julie L. "Katherine Bradford," Elle Décor, July–August 2017, p. 58–9.
  9. ^ a b c d Yau, John. "No More Garden Variety Avant-Garde Has-Beens," Hyperallergic, April 22, 2012. Retrieved April 2, 2020.
  10. ^ MoMA PS1. "Orpheus Selection: In Search of Darkness," Exhibitions. Retrieved April 6, 2020.
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  13. ^ a b ArtfixDaily. "DeCordova Sculpture Park and Museum Awards 22nd Rappaport Prize to Artist Katherine Bradford," August 23, 2021. Retrieved February 15, 2022.
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  21. ^ a b ICA Boston. Motherhood, Katherine Bradford, Art. Retrieved February 15, 2022.
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  28. ^ a b c d The Brooklyn Rail. "Katherine Bradford with Chris Martin and Peter Acheson," The Brooklyn Rail, May 2007. Retrieved April 6, 2020.
  29. ^ "WEDDINGS/CELEBRATIONS; Laura Bradford, David Kirkpatrick". The New York Times. September 21, 2013.
  30. ^ a b c Bradford, Arthur. "Interview: Katherine Bradford," Artfridge, December 15, 2015. Retrieved April 2, 2020.
  31. ^ a b c The New York Times. "Laura Bradford, David Kirkpatrick," Weddings, The New York Times, September 21, 2003. Retrieved April 2, 2020.
  32. ^ University of Cambridge. Laura Bradford, Faculty of Law. Retrieved April 12, 2020.
  33. ^ Bradford, Arthur. "How About a Little Badass Inspiration" Medium, April 20, 2016. Retrieved April 6, 2020.
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  35. ^ Cyphers, Peggy. "Katherine Bradford," Arts Magazine, January 1990.
  36. ^ a b Artner, Alan G. "Katherine Bradford paintings convey much about an artist's workaday life," Chicago Tribune, February 6, 1992.
  37. ^ a b Stagen, Nancy. "Painters stretch the possible – Robert Ripps, Kathleen Bradford, Robert Kelly," The Boston Globe, November 11, 1993.
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  39. ^ Hohmann, Silke. "Katherine Bradford in Berlin," Monopol: Magazin für Kunst und Leben, December 2018.
  40. ^ Felsberg, Kaylie. "Demand for Katherine Bradford’s Luminous Paintings Builds," Artsy, September 14, 2021. Retrieved March 2, 2022.
  41. ^ Johnson, Paddy. "Prospect.4 Artists Announced," Art F City, May 23, 2017. Retrieved March 2, 2022.
  42. ^ Pennsylvania Academy of Fine Arts. "Visiting-Artist: Katherine Bradford." Retrieved April 6, 2020.
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  47. ^ a b Smith, Roberta. "Katherine Bradford," The New York Times, October 27, 1989, p. C30. Retrieved April 2, 2020.
  48. ^ Braff, Phyllis. "In the Choices of Albee, Imagination Prevails," The New York Times, February 11, 1990. Retrieved April 2, 2020.
  49. ^ Myles, Eileen. "Katherine Bradford at David Beitzel Gallery," Art in America, June 1993.
  50. ^ Maine Sunday Telegram. Review, Maine Sunday Telegram, August 29, 1999.
  51. ^ Lombardi, Dominick D. "Inaugural exhibition for Gallery in Beacon," The New York Times, April 22, 2001, p. WC14. Retrieved April 2, 2020.
  52. ^ a b Maine, Stephen. "Ether Nights at Sarah Bowen Gallery," Artnet, February 2005. Retrieved April 6, 2020.
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  55. ^ Fyfe, Joe. "Katherine Bradford at Sarah Bowen," Art in America, May 2005.
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  58. ^ a b c d Stopa, Jason. "Kathleen Bradford with Jason Stopa," The Brooklyn Rail, April 2, 2012. Retrieved April 6, 2020.
  59. ^ Plagens, Peter. "On Supermen and Airships," Wall Street Journal, April 27, 2012.
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  61. ^ Kimball, Whitney. "Four Shows NYC, Aggro Crag at BOSI Contemporary," New American Paintings, September 21, 2012. Retrieved April 6, 2020.
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  64. ^ a b c Butler, Sharon. "Starry Night: Katherine Bradford at Canada," Two Coats of Paint, January 20, 2016. Retrieved April 2, 2020.
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  68. ^ Pardee, Hearne. "Katherine Bradford, Fear of Waves," The Brooklyn Rail, February 3, 2016. Retrieved April 6, 2020.
  69. ^ a b c Kardon, Dennis. "Subtle Ambiguities: Katherine Bradford at Canada," artcritical, October 12, 2018. Retrieved April 6, 2020.
  70. ^ a b c Ludel, Wallace and Gabriella Angeleti. "Three exhibitions to see in New York this weekend," The Art Newspaper, April 29, 2021. Retrieved February 25, 2022.
  71. ^ Campoli Presti. "Katherine Bradford," Retrieved April 13, 2020.
  72. ^ Heinrich, Will. "What to See in New York Art Galleries Right Now," The New York Times, March 15, 2019, p. C14. Retrieved April 2, 2020.
  73. ^ a b c d Yau John. "Katherine Bradford’s Joy and Grief," Hyperallergic, May 1, 2021. Retrieved February 25, 2022.
  74. ^ Whyte, Murray. "Painter Katherine Bradford and weaver Diedrick Brackens pair up in exhibition at Harvard’s Carpenter Center for the Visual Arts," The Boston Globe, December 9, 2021. Retrieved February 25, 2022.
  75. ^ Quinton, Jared. "Philosopher’s Clambake," The Brooklyn Rail, June 2021. Retrieved February 25, 2022.
  76. ^ a b c Kamp, Justin. "Katherine Bradford Tackles Motherhood With ‘Mother Paintings’ at Canada Gallery," Observer, May 10, 2021. Retrieved February 25, 2022.
  77. ^ Hunter, Lucy. "Katherine Bradford," The Guide.Art, April 2021. Retrieved February 25, 2022.
  78. ^ Artforum. "Katherine Bradford Wins Rappaport Prize," August 24, 2021. Retrieved February 15, 2022.
  79. ^ a b Di Liscia, Valentina. "Katherine Bradford Mosaic Murals Make a Manhattan Subway Station Shine," Hyperallergic, September 23, 2021. Retrieved February 25, 2022.
  80. ^ Hoeffner, Melissa Kravitz. "These gorgeous new mosaics are coming to L train stations," TimeOut New York, September 23, 2021. Retrieved February 25, 2022.
  81. ^ Dallas Museum of Art. "Prom Swim, Green by Katherine Bradford," Collections. Retrieved April 6, 2020.
  82. ^ Addison Gallery of American Art. "Katherine Bradford, Island Ferry," Collection. Retrieved April 6, 2020.
  83. ^ Hall Art Foundation. Katherine Bradford, Beautiful Lake Collection. Retrieved April 2, 2020.
  84. ^ Pennsylvania Academy of Fine Arts. "Katherine Bradford," Collection. Retrieved April 6, 2020.
  85. ^ Portland Museum of Art. "Katherine Bradford, Flying Woman, 6X," Collections. Retrieved April 6, 2020.
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