Seaside, 1 Woman, 2 Men, 2020
Print : pigment ink, tirage fine art · 53.3 x 58.4 x 1.27 cm 21 x 23 x 0.5 inch · Ready to hang
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About the artwork
Type
Print : numbered and limited to 30 copies
Condition
Artwork sold in perfect condition, framed, ready to hang
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Signature
Hand-signed by artist
Technique & Support
Dimensions ( cm • inch )
53.3 x 58.4 x 1.27 cm 21 x 23 x 0.5 inch Height x Width x Depth
Artwork dimensions including frame
58.42 x 63.5 x 1.46 cm 23 x 25 x 0.6 inch
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Credentials
Vetted seller since 2020 • Top Seller
Description
Medium: Unique Goauche & Archival pigment print
Edition: of 30
Notes: Series of 30, each uniquely hand-embellished, signed by the artist on front, 2020.
Custom Framed Floating on White Acid Free Matting with A Flat White Frame and White Acid Free Spacers.
The ethereal, the horror. There is clarity in mystery — in accepting that absolute truth may not actually be accessible. If drawing a precise line is challenging when things feel uncertain, why not dwell in imagination instead? The ethereal, the horror, the sublime sense of discovering a new world. Katherine Bradford awes critics with her deft mark making, direct capture of painted emotion and the materiality of feeling — the distinct voice of her presence rendered in gesture. Bradford builds forms through thin washes of broad brushstrokes, inventing layered colorfields and figures who are almost deity-like in space, alive in the world of creation. Emerging with a glow, they exist as community and as composition.
Exhibition A is proud to have collaborated with Katherine Bradford to create Seaside, 1 Woman, 2 Men, a series of 30 gouache on pigment print works. Palimpsest like, the series was made in her studio layering gouache atop a base print, obscuring and transforming the original image. Three figures stand and two hold hands. Horizon lines and swim trunks complete the scene of self-contained reflection and quietude — a placid mutability. Or are they waiting for something? It is spring of 2020, when considering figures in enclosed spaces, individual ecosystems, and the balance between dislocation and connectivity feels especially poignant. In a 2019 interview with Artspace, Bradford provided insight into her ongoing exploration of dynamic, noting her intention is to celebrate "who we are, how we fit in, how we fit in together visually, how we all stand next to each other, and there are quite a lot of options for how to look and be with one another. I'm interested in the community."
Source: Exhibition A
Edition: of 30
Notes: Series of 30, each uniquely hand-embellished, signed by the artist on front, 2020.
Custom Framed Floating on White Acid Free Matting with A Flat White Frame and White Acid Free Spacers.
The ethereal, the horror. There is clarity in mystery — in accepting that absolute truth may not actually be accessible. If drawing a precise line is challenging when things feel uncertain, why not dwell in imagination instead? The ethereal, the horror, the sublime sense of discovering a new world. Katherine Bradford awes critics with her deft mark making, direct capture of painted emotion and the materiality of feeling — the distinct voice of her presence rendered in gesture. Bradford builds forms through thin washes of broad brushstrokes, inventing layered colorfields and figures who are almost deity-like in space, alive in the world of creation. Emerging with a glow, they exist as community and as composition.
Exhibition A is proud to have collaborated with Katherine Bradford to create Seaside, 1 Woman, 2 Men, a series of 30 gouache on pigment print works. Palimpsest like, the series was made in her studio layering gouache atop a base print, obscuring and transforming the original image. Three figures stand and two hold hands. Horizon lines and swim trunks complete the scene of self-contained reflection and quietude — a placid mutability. Or are they waiting for something? It is spring of 2020, when considering figures in enclosed spaces, individual ecosystems, and the balance between dislocation and connectivity feels especially poignant. In a 2019 interview with Artspace, Bradford provided insight into her ongoing exploration of dynamic, noting her intention is to celebrate "who we are, how we fit in, how we fit in together visually, how we all stand next to each other, and there are quite a lot of options for how to look and be with one another. I'm interested in the community."
Source: Exhibition A
Presentation
Katherine Bradford is best known for her paintings of ships and of swimmers that are inspired by artists such as Marsden Hartley, Milton Avery and Alex Katz. Her work has been the subject of one person shows at the Bowdoin College Museum of Art (2013) and at the Modern Museum of Fort Worth Texas (2017) and is scheduled for an upcoming survey exhibit at the Portland Museum of Art (Maine) which will travel to several venues.
Bradford was born in 1942 in New York City and attended Byrn Mawr College (B.A.) and Purchase College (MFA). She is represented in New York by CANADA, in Berlin by Phillipp Haverkampf, in Portland, Oregon by Adams and Ollman, in Paris and London by Campoli Presti and in Maine by Caldbeck Gallery.
In 2011 she received a Guggenheim Fellowship and a Joan Mitchel Foundation Award in 2012. Other awards include a Pollock Krasner Grant and two awards from the American Academy of Arts and Letters.
Bradford was a resident faculty member at the Skowhegan School of Painting and Sculpture (2009) and in 2016-2017 was Senior critic at the Yale School of Art in New Haven.
Her work is in the collections of the Metropolitan Museum of Art, the Brooklyn Museum, the Portland Museum (Maine and Oregon), the Dallas Museum of Art and the Menil Collection in Houston Texas
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