Cohen writes that in Bradford's work "there is the peculiar poetic charm of provisional painting – a sense of blah, of nonchalance, of not quite caring about the slapdash, scruffy, Brooklyn-esque 'work in progress' look. But, on the other hand, there is also the energy, seriousness, and resolve of classic abstract painting. The happy marriage of naïveté and abstraction can feel at times as if a Chagall, Janice Biala or Aristodimos Kaldis has been pressed through a de Kooning sieve. Actually, forget that messy analogy: just recall that Wassily Kandinsky made naïve woodcuts before he invented abstraction. Or else bring to mind the reverse, high-abstraction-to-low-realism trajectory of Philip Guston."
Jason Stopa interviews painter Katherine Bradford on the occasion of her upcoming exhibition of recent work at Edward Thorp Gallery, New York, on view from April 19 – May 26, 2012.
Bradford notes that "This may be a good time to be doing paintings that appear human or have a humanity that maybe a decade ago wasn't considered very interesting. Interesting - no. It wasn't considered modern enough, wasn't considered groundbreaking enough."
Calandra notes that Bradford's paintings "ask the viewer to let go. They allow for connections to be made between the compelling imagery and space within them freely and without a push from any kind of direct narrative. Like reading a poem that never overtly connotes its subject, the viewer's imagination is as active a participant while observing as Kathy's must have been while making."
Edited by artist Brett Baker, Painters' Table highlights writing from the painting blogosphere as it is published and serves as a platform for exploring blogs that focus primarily on the subject of painting.