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Mark Bradford, The Some of Its Parts, 2004, billboard paper, photomechanical reproductions, acrylic gel medium, curlpapers, acrylic paint, additional mixed media on canvas, 60 x 70".

Mark Bradford

Mark Bradford, The Some of Its Parts, 2004, billboard paper, photomechanical reproductions, acrylic gel medium, curlpapers, acrylic paint, additional mixed media on canvas, 60 x 70".

THE SOME OF ITS PARTS, 2004, made of billboard paper, acrylic gel medium, and strips of a material that resembles tape, exemplifies Mark Bradford’s so-called abstract paintings. Like the thirty-seven other wall pieces in this exhibition, a midcareer retrospective curated by Christopher Bedford that also includes video, three-dimensional objects, and installation, The Some of Its Parts is decorative, compositional, and made up of colors, apparently arbitrary, drawn from mid-’80s Pop—and mid-2000s pop-culture regress: Peter Halley meets neo-expressionism meets Kanye West. These hot pinks and neon oranges reference a commodity matrix that found its apotheosis in sneakers, that symbol of “urban” (read: African-American) culture appropriated by the mainstream. Indeed, the works’ titles (The Devil Is Beating His Wife, 2003; Scorched Earth, 2006; Disappear like a Dope Fiend, 2006)

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