A David Bradley painting, "100 Years of Ghost Dancing II,"...
David Bradley
Chippewa, (b. 1954), "100 Years of Ghost Dancing II," 1991, mixed media on canvas, signed lower right, titled, dated and signed again on the fold-over edge verso.
height 30in, width 24in
Provenance
Property from the Estate of Arnold and Lorlee Tenenbaum
For other examples of Bradley's work in mixed media from the same period as the present lot, see Verzuh, Valerie K., Indian Country: The Art of David Bradley, 2014, Museum of New Mexico Press, Santa Fe, plates 9 and 69.
"That Bradley has been a ceramicist, sculptor, and painter is most evident in the complex mixture of materials and texture in his multimedia paintings. These have a more active development of the surface, using a variety of found materials, as well as the written word. His use of found, commercially produced objects in his mixed-media artwork blurs boundaries between fine and popular art. As depictions of 'recorded histories' of Native and non-Native interactions, they juxtapose two different but coexistent ways of interpreting history.
Through these powerful paintings, Bradley reclaims indigenous narrative and gives purpose to an often hideous history. Unlike his paintings, wherein humor takes the sting out of racism, these visceral paintings venture into painful territory; they are outcries against breaches of human rights." Ibid, p. 95
Sale price
Estimate
Time, Location
Auction House
David Bradley
Chippewa, (b. 1954), "100 Years of Ghost Dancing II," 1991, mixed media on canvas, signed lower right, titled, dated and signed again on the fold-over edge verso.
height 30in, width 24in
Provenance
Property from the Estate of Arnold and Lorlee Tenenbaum
For other examples of Bradley's work in mixed media from the same period as the present lot, see Verzuh, Valerie K., Indian Country: The Art of David Bradley, 2014, Museum of New Mexico Press, Santa Fe, plates 9 and 69.
"That Bradley has been a ceramicist, sculptor, and painter is most evident in the complex mixture of materials and texture in his multimedia paintings. These have a more active development of the surface, using a variety of found materials, as well as the written word. His use of found, commercially produced objects in his mixed-media artwork blurs boundaries between fine and popular art. As depictions of 'recorded histories' of Native and non-Native interactions, they juxtapose two different but coexistent ways of interpreting history.
Through these powerful paintings, Bradley reclaims indigenous narrative and gives purpose to an often hideous history. Unlike his paintings, wherein humor takes the sting out of racism, these visceral paintings venture into painful territory; they are outcries against breaches of human rights." Ibid, p. 95
Sale price
Estimate
Time, Location
Auction House
