グッゲンハイム美術館のインスタグラム(guggenheim) - 11月12日 03時58分

The work of two women artists, Hilma af Klint and R. H. Quaytman, currently on view in our rotunda, has challenged us to to think about the history of modernist painting in new and vital ways. Follow along this week to discover abstract artists from the #GuggenheimCollection! #AbstractArtWeek

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Mark Bradford worked in his mother’s salon from a young age and referred to himself as a “beauty operator.” Bradford’s early work often incorporated the tools of his trade, including singed permanent-wave endpapers, cellophane hair color, and human hair. In “Daddy, Daddy, Daddy” (2001), Bradford overlaid the translucent endpapers parallel to one another, their burned edges forming an imperfect, all-over grid. Though the composition is abstract, the materials evoke elements of Bradford’s personal narrative as well as the social and political significance of hair styling—especially hair straightening—in the black community.

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Artwork: Mark Bradford, “Daddy, Daddy, Daddy” (2001)
#MarkBradford #Guggenheim #AbstractArt

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