new-york

Mark Bradford

Sikkema Jenkins & Co.

The titles of Mark Bradford’s recent exhibition, “Nobody Jones,” and of featured works such as the collage painting Ghost Money (all works 2007), hint that the show’s abstraction of urban topography might find an echo in the notion of hauntology. The term, originally coined by Jacques Derrida in 1993 and recently revived by a clutch of popular-music critics to describe recordings that conjure a retro-futuristic vision, refers to the suggestion that society is increasingly in thrall to ideas and aesthetics that are picturesquely obsolete. Cultural dead ends and blind alleys. Specters. That Bradford makes canvases in which the graphic detritus of his native Los Angeles has been buried and stratified only to be partially unearthed suggests a vision of the present as constantly shadowed by the past.

The sprawling matrix at the center of Ghost Money floats against a patchy field of silver-gray;

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