July 3, 2024 • 35 mins
Not all stars of the art world are overnight sensations. Join us on The Collector's Edge as we explore the extraordinary perseverance and journey of Katherine Bradford, an artist who embraced her true vocation somewhat later in life than many, but has gone on to achieve acclaim and recognition for her unique painterly vision. Learn about her formative years, her bold move to New York City in 1980, and the powerful themes of liberation and emancipation that define her work. From her early abstract pieces to her poignant depictions of swimmers and superheroes, Bradford's evolution as an artist is as compelling as it is inspiring.
We discuss the methodologies of Bradford's paintings and their captivating qualities, highlighting her masterful balance of composition, light, and glazing techniques. Understand her place within the contemporary art market and learn how her works offer remarkable value for their quality and maturity. We delve into the recognition she's received, including a Guggenheim Fellowship and a Joan Mitchell Foundation Grant, her extensive teaching legacy and her significant public art commissions, such as the murals at New York City's First Avenue Subway Station. We also offer insights into how you can research her practice and learn more through widely available content online.
Tune in to learn how Katherine Bradford's inspiring journey from struggle to recognition has created an artist fully confident and in charge of her process and one who consequently appreciates the successful and highly respected career that has resulted from these attributes.
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Episode Transcript
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Jeppe Curth (00:00):
Hi and welcome to the Collector's Edge for Nordic
Art Partners.
In today's episode, we willdelve into an artist who had a
breakthrough very late in hercareer.
We're going to talk aboutKatherine Bradford and we'll
explore her unique and highlycollectible works.
Joining me, as always, is ourart expert, nicholas Robertson.
I'm your host, Jeppe Curth.
Let's get started.
Nicholas Robinson (00:31):
We've all heard about it.
Sometimes it's front page newsImportant works of art are being
sold for incredible sums ofmoney.
But can you get involved andbecome a part of the exclusive
club yourself, and how do youget started while avoiding
buying the wrong things?
That's exactly what thispodcast is about.
This is the Collector's Edgefrom Nordic Art Partners, a
(00:56):
podcast for those of youinterested in the mechanics of
the art industry, want adviceabout putting money into art, or
simply want to buy somethingfor your walls, to beautify your
surroundings.
Whatever your objectives, it ispossible to put money into art
wisely, to be considered,thoughtful and well informed in
(01:16):
your choices and actions.
Welcome to the art ofcollecting with an eye for
curated beauty and practicalvalue, with an eye for curated
beauty and practical value.
Jeppe Curth (01:29):
Hi Nick
Nicholas Robinson (01:29):
How are you doing?
I am fine, thank you.
How are you today?
I'm good, thank you, Good, goodgood.
Jeppe Curth (01:38):
So today is about Katherine Bradford, and maybe,
as always, could you start bythe beginning and start where
she comes from.
Nicholas Robinson (01:47):
Sure, sure, absolutely yes, Katherine
Bradford is a really interestingartist, really interesting
story biography, an artist thatI've known about for some time,
but not an artist that I hadspent a lot of time paying a lot
of attention to.
And this is a slightly rarecase, possibly, if I may say,
(02:12):
where you had been veryinterested in the work and your
continued interest was a driverfor my interest and my noticing
the work, and we've got moreinterested in it over time, um,
but that's a little bit thegenesis of our interest, and I
just wanted to sort of say thatthat, in this context, um,
(02:35):
you're noticing the work was acatalyst for my noticing the
work, and it doesn't happen thatway around.
So much anyway.
Jeppe Curth (02:43):
No, it's good to try that way around.
Nicholas Robinson (02:45):
Um no, but I'm just saying credit where
credit's due, Thank you.
But Katherine Bradford is.
You know, we talk a lot aboutartists who have a very
important role in history andperhaps their influence, their
achievements, have not beennoticed or acknowledged as much
(03:06):
as we think should be the case.
Katherine Bradford is a littlebit different in that she's been
painting for quite some timebut, um, it took her a long time
to get noticed.
Um, she'd be the first to saythis, having achieved, you know,
(03:27):
a good, solid career now, buthaving taken a long time to get
to that place.
But I suppose I guess yourquestion was related to the
biographical information, right?
Jeppe Curth (03:39):
Just to get a background.
Yeah, a little bit ofbackground, as I also said in
the beginning.
Is she?
Her breakthrough was very latein her career, so maybe we yeah,
a little bit of background.
As I also said in the beginning, her breakthrough was very late
in her career, so maybe wecould start a little bit before
the breakthrough.
Nicholas Robinson (03:49):
Yeah, yeah, makes sense, makes sense.
Well, she was born in 1942 andlived in New York City and
Connecticut.
We don't have, you know,tremendous amounts of
biographical information abouther, not that there's any sort
of great secret, but she'dalways been interested in art.
But as a young person it seemedthat the in her family context,
(04:15):
the bohemian life of an artistwas discouraged or certainly not
encouraged.
So she followed a veryconventional path in life in the
1960s marrying, becoming a sortof dutiful wife and then mother
, um.
She had boy, girl twins born in1969.
(04:35):
Um.
She spent her uh the 1970sliving in Maine, um, and she was
part of an artist communitythat actually included Lois Dodd
and Yvonne, uh Jaquette Um, andwith no training, she made some
abstract works, primarily aboutcolor and its relation to
(04:59):
landscape or the evocation oflandscape.
But in the late 1970s sherealized that she, the artist's
life, was a life that she wantedand it was a life that she was
not leading, and she had to makea determination about how to
(05:21):
get this life.
So in 1980, with the sort ofdisapproval of her family
ringing in her ears, I supposeshe she moved to New York city
in order to pursue a life in artand to be in contact with an
active arts community.
So already she was 30 years ofage when she determined that she
(05:43):
needed to make this seriouscommitment to being an artist.
So she, yeah, she studied andthen, in 1987, she enrolled in
graduate studies at SUNYPurchase and very slowly but
surely, began her exhibitingcareer.
Jeppe Curth (06:04):
Good, Thanks, and very slowly but surely began her
exhibiting career.
Good thanks, let's get back tothat because it's a question for
the next part.
But could you start bydescribing her works and maybe
also the accruing themes andmotifs?
Nicholas Robinson (06:19):
she had.
Sure, I mean the firstpaintings that started to gain
her some attention, from the2000s.
A lot of them had a had amarine theme Collectives of
people related to being on boats, being in the sea, paintings of
swimmers.
The other bodies of workinclude Superman and superhero
(06:53):
paintings, figures, sort ofliberated and flying free, and I
guess I mean one of the veryfirst sort of significant
paintings I suppose that she hasdone is a painting called
Runaway Wife, and there are manypaintings that sort of relate
to this theme of liberation,emancipation.
In fact, there's a reallyinteresting quote from her, if I
may read it, so this is herwords I was living in Maine year
(07:19):
round in the 1970s.
I had two children and anambitious husband who basically
wanted to be governor of Maine.
When I realized theimplications of that, I thought
this is going to be a trainwreck and I didn't want to get
divorced, but I also didn'tthink I could be the first lady
in the governor's mansion.
One day my husband invited somecolleagues over for lunch and I
(07:41):
told him I just couldn't hackit.
I didn't want to be there forone more lunch.
So when the people came downthe driveway to our home, I
jumped out of a window and ranto my studio.
So this is a story that ofcourse tells a lot about her
mindset and about herdetermination to free herself
from the shackles of this veryconventional, straightening life
(08:04):
and, yeah, embrace an artisticlife, the life of an artist, the
path of an artist.
So these earlier bodies of workare characterized by the
thematic subjects that we'vealready talked about the
individual figure, sort offlying free or caped, so of
(08:26):
course in this sense they're asuperhero, sometimes very
specifically Superman.
And then we have the figures onboats and then swimmers,
individual swimmers, groups ofswimmers or people gathered by
the shore.
And the way these paintings aremade they consist of large
(08:49):
swathes of colour, blocks ofcolour that are built up through
thin glazes, so the glazes areaccumulated on the surface to
create this sort of depth ofsaturation for any given colour,
and then the figures kind ofemerge, or sort of depth of
saturation for any given color,and then the figures kind of
emerge or sort of disappear alittle bit into these color
(09:12):
fields, these blocks and theseblocks.
They overlap each other, so youhave these sort of diaphanous
patches of color where you havethese very sort of softly
blended areas where the twotypes of colour overlap and
these colours are designed toevoke elements of the landscape
or different times of day ornight, or seasons or whatever.
(09:35):
So that's really what thepaintings are look like.
And then the figures.
In these paintings the narrativeis extremely ambiguous.
We don't know exactly theinterrelationship between these
figures.
So we see single figuresexisting in a somewhat
(09:56):
flaneur-like attitude.
Perhaps we see families, we seelovers, heroes and sometimes
quite many people, a large groupof people.
So we have differentcommentaries on the individual,
the personal and the communityand the various ways in these
different elements can interact.
(10:17):
As part of this sort of generalrumination on the human
condition, one imagines thehuman condition, one imagines.
Often we get this kind of sortof slightly nondescript feel,
this more atmospheric feel,because the figures themselves
are very soft-edged, with noparticularly strong definition
(10:38):
in the facial features, so wecan't read them in terms of what
they're saying or doing orthinking.
So they become very, verygeneralized and a very sort of
soft edged, um, uh, atmosphericevocation of something, um, and
because the paintings are sortof built up in this way, um,
(10:58):
with these, with these layers ofglazes, um, we get a very
particular kind of lighting andthere's no individual light
source in these paintings.
The source of light in thepaintings is from within.
So these paintings, they have asort of a soft ethereal glow as
(11:20):
a result of having this sort ofpainterly luminosity and this
light that somehow appears tobegin within the painting and
then somehow come outwards to us, the viewer Um.
So that's a very specificquality, that's a very important
part of looking at her work andunderstanding her work and
(11:42):
feeling her work Um.
So then all of these elements,they sort of combine um to
create these, these, thesefigurative abstractions Um, if I
could use that term.
Um and the the, the events thatare transpiring in the paintings
are always fictitious Um.
She completely invents thesescenes um and these figures in
(12:07):
these compositions, and then shedevelops them by intuition Um.
She comes into the studio inthe morning and there's a lovely
video that I've seen of her umpaint trays arranged on a work
bench and they are not cleanedfrom from the day before, from
(12:27):
the week before Um.
There's just this sort ofaccumulation of paint in her
signature colors um, which isvery nice to see, and then these
very crusty brushes um sort ofstaying wet in these, in these
um trays of paint and, and shelikes to not clean her brushes
because she likes to be able tocome in in the morning and she
(12:48):
doesn't like to clean up because, of course, that's tedious and
she doesn't want to begin theday with a sort of a chore like
routine.
She wants to be able to come inand survey the multitude of
paintings that are arrangedaround her, all of which she's
working on and evolvingsimultaneously, and then she
(13:12):
just wants to be able to get inthe zone and to start the
challenge of moving thesepaintings forward in whatever
way comes to her intuitively.
So it's, it's really it's areally nice process.
Um, that is, you know, becomesvery clearly reflected in the
way these paintings look.
Um, and then I suppose, if I'mgoing to talk about the final
(13:33):
characteristic of her paintings,um, a visual characteristic
that is most striking about themis the perspective, now these,
because you have these flatswathes of color, um, often
actually also sort of finishedwith this scumbled, um, uh,
paint application on the verytop layer, the very top surface,
(13:54):
and, and by that I mean a sortof a drier pigment that is sort
of almost like scratched ontothe surface, um, with a, you
know, with a dryer brush, so youhave some accumulation of small
areas of impasto on the surface, but fundamentally you've got
these big blocks of colour andthe way they are arranged gives
(14:18):
a very sort of non-specificsense of perspective.
So the sort of space that thesepaintings inhabit is not the
same sorts of planes that we'reused to in highly realistic
painting, but it's a much moresort of atmospheric sense of
coming in and out.
Jeppe Curth (14:38):
Yes, thank you, nick, and that is what they look
like.
Can you maybe say a bit moreabout her palette and colors?
Nicholas Robinson (14:47):
Yeah, the colors are very, very often
bright, luminous colors, very,very kind of warm colors often,
but a strong, strong.
She's a strong colorist and Isuppose you know you can see her
.
You know she's a New Yorkpainter.
I suppose you know you can seeher.
(15:09):
You know she's a New Yorkpainter.
I suppose, essentially, eventhough her paintings are
ostensibly figurative paintings,there's a great deal of
abstraction within them, ifthat's not too much of a paradox
(15:31):
.
The colors that she chooses towork with, I mean you can see
the influence of Matisse andBonnard very sumptuous, rich,
saturated fields of color fromwhich these figures emerge or
submerge.
I guess, to talk about her workin a wider art historical
(15:53):
perspective, figures in thewater is extremely prevalent in
her work and recurs, you know,over many, many years, many
bodies of work and of course thetheme of the bather in painting
is a very longstandingclassical one.
I mean, in the 19th century wecould see the bather, the nude
(16:13):
bather, sort of dressed up inclassical themes in the work of
Cabanel or Bougerot, and then inCorbet, the work of Corbet, and
(16:40):
then in the later 19th centurythe work of Bonnard and Matisse.
Really important sort oflineage, I guess, not
necessarily to place her veryspecifically, but to understand
different examples and how shemight be placed within that kind
of trajectory.
So, nick, let's get some factson the table.
(17:16):
Okay, yeah, so can you take itaway?
Uh, okay, well, um, for, uh,she's in her 70s now and and I
suppose in terms of a career, wecan still describe her as a
relatively new artist.
Um, she came to prominence inthe in the two thousands, or
prominence.
She started to gain sometraction with her work in the
two thousands and I suppose wecould trace her breakout
(17:37):
exhibition to 2016,.
Um, which was her first soloexhibition with Canada, which is
a really nice gallery, reallygood gallery in New York City.
But her teaching, beyond herexhibiting career, she has an
important role as a teacher andher teaching legacy includes
(17:59):
influencing many young artiststhrough various teaching
positions.
She's taught at thePennsylvania Academy of Arts.
She's taught at the FIT in NewYork Fashion Institute of
Technology, that is.
She's taught at the SkowheganSchool of Painting and Sculpture
in Maine and in 2017-18, shewas also the senior critic on
(18:20):
the painting faculty at the YaleSchool of Art.
So she's, you know, she's beeninvolved in some really
venerable institutions.
Um, where she's, where she'sbeen teaching painting.
Um, she's received quite a niceuh array of awards and honors.
Uh, she's been granted aGuggenheim fellowship, a Joan
(18:43):
Mitchell foundation grant.
She's been elevated to theAmerican Academy of Arts and
Letters and, in a really nicesort of you know gesture nod to
her status, she was commissionedto make a mural, a set of
murals for the First Avenuestation on New York City
(19:04):
Subway's L train, murals for thefirst avenue station on new
york city subways l train.
You know this is out inwilliamsburg, uh, brooklyn uh,
where she's had her studio formany years, um, starting in the
1980s when she moved back to thecity.
This was a neighborhood thatwas really just a neighborhood
consisting largely of polishimmigrants and not at all an
artistic bohemian neighborhood.
(19:24):
It was really just a cheapplace for artists with no money
to get studio space.
But now she has this incredibleset of murals in the in the
subway station.
So that's the sort of a nicepublic acknowledgement of her,
of her role in this communityand her, you know, a role as an
important artist to gain such acommission In public collections
(19:48):
.
Her paintings are in some reallyquite prominent public
institutions, including theMetropolitan Museum of Art as, I
suppose the most prestigious ofthese the Brooklyn Museum.
The Portland Museum of ArtModern Art Museum of Fort Worth,
texas.
The Portland Museum of ArtModern Art Museum of Fort Worth,
texas.
Pennsylvania Academy of FineArts in Philadelphia.
(20:09):
So she's, she's, she's.
She's being acquired byimportant institutions, I
suppose primarily in the UnitedStates, but she has some really
nice galleries.
The gallery that has, I guess,been most indelibly associated
with building her career isCanada.
That I've already mentioned.
(20:31):
And who else?
She shows with KatharineRapetto in Milan.
She has a really nice gallery.
She's done some really niceshows with Gilles Presti and
Emanuele Campoli.
They had a gallery calledSudden Lane which became
Campoli-Presti.
She's shown with Haverkampf inBerlin.
(20:53):
So she has really nicemedium-sized galleries that have
a really nice sort of outsizedinfluence in their individual
sort of geographic markets butwith a really nice nice programs
related to painting and such so, as you just mentioned, uh,
(21:19):
nick, with the numbers, uh andyears, bradford started showing
frequently in New York in 2007and up In 2016,.
Jeppe Curth (21:30):
as you said, she did her first exhibition at
Canada and after this exhibition, her career as an artist
started taking off.
She recently gained significantattention, I would say, in
popularity around collectors.
Um, what do you think hascontributed to her rise in in
(21:55):
interest?
Nicholas Robinson (21:57):
um, well, a figurative painting, I guess,
sort of goes in and out of voguea little bit.
So her painting, firstly, hassort of coincided with an
interest in this kind ofenigmatic, narrative, figurative
painting.
She's really a good painter andpeople that are highly skilled
(22:18):
in their field invariably notalways, but often get the
attention that their, their workuh, deserves.
Um, and she's, you know, she'sa really contemporary painter in
that her painting reallystraddles this interesting sort
of ambiguity, uh, this paradoxuh, between figuration and
(22:42):
abstraction, between figurationand abstraction.
The paintings, like I said,have very large blocks of sort
of washy color.
They're very flattened out, sothey don't tend to evoke a very.
They don't have an easyrelationship with perspectival
(23:03):
space, they tend to sort ofrepudiate those conventions.
So there's a sort ofsimplification of figure ground
relationship, which, which isreally nice.
So they've, they're verydistilled, very elemental, and
that you know they're very,they're very poetic.
So any, any, any, any work thatembodies all of these kinds of
(23:28):
qualities, these technicalqualities.
Her paintings are veryatmospheric, with these sort of
primordial atmosphere, theseluminous stars.
They're just, they're just.
Really there's a, there's aincredible delight in these
paintings, um, and obviouslywith combination of really good
galleries, being very dedicatedto the work and uh sort of
(23:51):
institution.
This is a.
This is an artist who startedto become really, really
comfortable in her own skin,having spent a long time
struggling to achieve a certainsort of status, and I don't mean
status in terms of, you know,works costing a lot of money,
just breaking her way inbecoming acknowledged by the
(24:12):
industry, by the art market, bythe art world, struggling for
years to, you know, be treatedrespectfully by her peers.
You know, this is an olderwoman now, who is, you know, a
young artist, I suppose, and yet, and yet, she paints with
maturity and confidence becauseshe's been doing it for a long
(24:33):
time and, you know, all of thesekinds of things have, have
coalesced her auction record is163 000 for 90 by 120 work.
Jeppe Curth (24:46):
Is that her level in on the secondary market and
what are the primary prices onkathleen brentford's?
Nicholas Robinson (24:51):
works um primary prices.
Well, the primary pricesstarted around a 20 25 000 I
guess for a very small paintingum, a painting that is um sort
of a meter and a half, maybe 150centimeters tall.
I think that that's probablyaround 80 000 today.
Um bigger ones more, smallerones a bit less, but this is the
(25:16):
sort of general range.
Secondary market paintings area bit more expensive than her
primary market paintings.
It's not impossible to buy themon the primary market, but it
it is quite difficult and hasbeen quite difficult um why is
that?
we're now into, uh, july 2024and we're seeing a slightly
different art economy.
(25:36):
So, of course, when, when thethe market softens, then it
becomes easier to buy paintingson a primary market, but they
have been very highly demanded.
Um, and you know, like anything, when, when a very good example
becomes available on thesecondary market, it can achieve
a good price.
Jeppe Curth (26:00):
So we have acquired works by Bradford and also
placed some good works withcollectors.
Can you explain the process andlist of buying record and her
works and why do we believe herworks and the future growth in
it?
Nicholas Robinson (26:18):
Well, the paintings are really really good
paintings and they'rereflective, like I said, of an
artist who's really come into arich vein of form.
You know, her maturity sort ofshines through but there's still
like a sort of a youthfulvibrancy, a kind of a faith in
humanity.
There's something reallyuplifting about these paintings.
(26:40):
So, you know, we always have togo on the strength of feeling
that we have for a work.
Obviously, our interest issubstantiated by these other
factors in the market that makeus feel that, you know, we're
not some lone voice in a vacuum.
There's a lot of interest inher work.
(27:01):
They're very well regarded,there's a strong regard for them
across the world.
So we just feel that, you know,these are, they're not cheap
paintings, they're not expensivepaintings.
There's good value for thequality and we feel like it's a
really.
You know it's a really.
It's a really good artist topay attention to and to be
(27:23):
committed to.
So that's that's really what itcomes down to.
Jeppe Curth (27:27):
And what kind of work would be good to acquire
for collectors?
Nicholas Robinson (27:32):
Well, I think that works are best described
in terms of the balance ofcomposition, the quality of the
light, a certain harmony betweenthese elements.
So I suppose, really it justcomes down to a sort of a
qualitative assessment ofindividual paintings, but
(27:52):
thematically, paintings ofswimmers, paintings that have
these figures somehowinteracting.
There's something.
Jeppe Curth (28:03):
The heroes.
Nicholas Robinson (28:03):
There's something, yeah, the hero
paintings are nice People flyingin the air, kind of completely
liberated from their you know,earthly woes, so to speak.
Um, there's something reallyreally nice and free about those
pictures, um, and then I reallythink the paintings that have
this built up, uh, layers ofglazing that allows the kind of
(28:25):
light to shine from within, fromwithin, uh, there's, like I
said, there's no specific lightsource in the paintings, and so
when you feel that they havethis warm inner glow, then I
think that you know you havesomething that really embodies
what she's really good at doingcan you maybe also try to
explain where she is in hercareer?
Jeppe Curth (28:45):
um, I don't believe that we can label her as like a
blue chip artist, but I guessshe's maybe becoming that, or is
that still to be determined?
Nicholas Robinson (28:57):
Yes, absolutely, it's still to be
determined.
I mean, she's a reallysuccessful artist whose work is
still good value, but can goodvalue but can be expensive.
I think that she is a painterwho will really really have a
(29:20):
strong sort of residual careerand reputation, a legacy, if you
like.
I do not think that her worksare sort of transient and
fleeting.
Think that her works are sortof transient and fleeting.
I think they have a strengthand a confidence and a potency
that will endure and I thinkwhen you have something that you
know has the ability to be aunique sort of visual thing that
(29:43):
then can become a an iconickind of look and feel, then then
you have an artist who haslongevity to look forward to,
and I believe that's the casewith her work for sure.
Jeppe Curth (29:56):
So why should everyone consider adding a
Catherine Bradford painting totheir collection?
Well, it's not a Picasso, right?
Picasso, everybody knowsPicasso, but.
But kathleen batford is maybenot that known?
No, but it's um, for for us,with our eyes, with the
(30:17):
knowledge we have with our intothe market, what we believe in,
we think it's a really goodthing to have.
Why is that?
Nicholas Robinson (30:24):
well if, for the reasons that I've described,
I mean, they're, they're just,they're really good paintings,
they're easy to live with,they're easy to see these
qualities that I've described,they have a strong sort of place
(30:44):
.
You can visit any prominent artfair.
You'll see numerous examples ofher paintings.
She is, you know, extremelywell established and yet her
work is enormously lessexpensive than her.
You know more than her peersthat have had a longer career
than she has had.
So I suppose you could sayshe's a, she's a really mature
(31:07):
artist with, you know, a longhistory of developing her craft
and her skills, and yet herprices are more related to a
younger artist.
So you might say you get, like,a lot of painting heritage for
(31:27):
the money that you have to spendto get one, which I think is,
you know, it's good.
I mean, everybody likes to feellike things are good value
rather than overpriced,obviously, um, so I think that's
sort of part of it.
But by the same token, theworks are not sort of $12,000.
They're not cheap pictures.
She is a very well-known artist.
She is an artist whose careeris, you know, been in the
(31:50):
ascendancy for some time.
So my feeling is that that'sjust something that will.
I feel that will continue.
Jeppe Curth (31:57):
Sounds good.
Maybe this is a little bitrecap in it, but for someone new
to the bread for work and nowwant to explore her art, maybe
want to buy some work of hers um, what should they do?
Nicholas Robinson (32:13):
well, um, there's quite a few places where
one can see works by her.
I mean, there's manyexhibitions that she's had.
You can just obviously refer tothe gallery websites that I
mentioned.
Canada has really goodexhibition history with her
going back around 10 years now,so there's always a few shows
(32:37):
that you can look at.
There.
You can see the installationimages, you can see the examples
.
Their website is really welllaid out in that there's really
interesting biographicalinformation.
Each show, of course, has apress release which describes
the thematic nature of thatparticular show and also, what's
really good is is the.
(32:58):
The exhibition pages oncanada's website have links to
all of the press that each ofher exhibitions has received and
there's some really nicereviews that speak of these
kinds of themes.
Um, critically that I havedescribed Um, so that's that's
the first um resource.
(33:18):
I would recommend Um and Ithink that the um, uh, emanuela
Campoli's website is really goodalso Um, and then and then just
you know, googling her name,you'll see.
Actually, one thing that'sreally nice is to look at um, is
to look at YouTube.
(33:39):
There's she's been, she's.
She's really a quite a generousinterviewee and there's many
instances of people being withher in her studio you can sort
of get a little taste of whather practice is like, the way
she conceives of herself and herwork and her life as an artist,
and she talks very openly notonly about her struggle and her
(34:00):
journey and her looking for away into this world, but also
her process, her methodology,the way she makes paintings, and
it's really you really can seeand feel how she works thanks,
nick.
Jeppe Curth (34:14):
Um, I think we covered the most of katherine
breadford.
Do you have anything to add?
Nicholas Robinson (34:18):
no, I I don't .
I think that that we've we'vedescribed, we've described her
work, we've described her careerpath to the kind of status that
she enjoys now.
We've talked about what to lookout for.
We've talked about her place inthe market.
Um, she's a really really areally great artist, um, who,
who really has a lot of fun withmaking paintings, who obviously
(34:41):
really enjoys and appreciateswhere she's at as an artist.
You know, she's had this sortof circuitous, maybe slightly
torturous, route to get thereand now you can feel that
there's this sort of celebratoryquality in her work, happy in
her own skin, confident in herability, in her achievement.
And you know, look at thepaintings with all of these
(35:03):
things in mind and you can feelthis.
Jeppe Curth (35:08):
Thank you, nick, for once again giving us some
deep insights.
Thank you, eva.
Thank you, nick, for once againgiving us some deep insights.
Thank you, so if you have oryou want to know more about uh
katherine battery, if you haveany request or you, you can
contact us at info at nordic artpartnerscom and we will do
whatever we can to help you.
Thank you for listening to usand I hope to have you.
(35:29):
Thank you for listening to usand I hope to have you back.
Hi and welcome to the Collector's Edge for Nordic
Art Partners.
In today's episode, we willdelve into an artist who had a
breakthrough very late in hercareer.
We're going to talk aboutKatherine Bradford and we'll
explore her unique and highlycollectible works.
Joining me, as always, is ourart expert, nicholas Robertson.
I'm your host, Jeppe Curth.
Let's get started.
Nicholas Robinson (00:31):
We've all heard about it.
Sometimes it's front page newsImportant works of art are being
sold for incredible sums ofmoney.
But can you get involved andbecome a part of the exclusive
club yourself, and how do youget started while avoiding
buying the wrong things?
That's exactly what thispodcast is about.
This is the Collector's Edgefrom Nordic Art Partners, a
(00:56):
podcast for those of youinterested in the mechanics of
the art industry, want adviceabout putting money into art, or
simply want to buy somethingfor your walls, to beautify your
surroundings.
Whatever your objectives, it ispossible to put money into art
wisely, to be considered,thoughtful and well informed in
(01:16):
your choices and actions.
Welcome to the art ofcollecting with an eye for
curated beauty and practicalvalue, with an eye for curated
beauty and practical value.
Jeppe Curth (01:29):
Hi Nick
Nicholas Robinson (01:29):
How are you doing?
I am fine, thank you.
How are you today?
I'm good, thank you, Good, goodgood.
Jeppe Curth (01:38):
So today is about Katherine Bradford, and maybe,
as always, could you start bythe beginning and start where
she comes from.
Nicholas Robinson (01:47):
Sure, sure, absolutely yes, Katherine
Bradford is a really interestingartist, really interesting
story biography, an artist thatI've known about for some time,
but not an artist that I hadspent a lot of time paying a lot
of attention to.
And this is a slightly rarecase, possibly, if I may say,
(02:12):
where you had been veryinterested in the work and your
continued interest was a driverfor my interest and my noticing
the work, and we've got moreinterested in it over time, um,
but that's a little bit thegenesis of our interest, and I
just wanted to sort of say thatthat, in this context, um,
(02:35):
you're noticing the work was acatalyst for my noticing the
work, and it doesn't happen thatway around.
So much anyway.
Jeppe Curth (02:43):
No, it's good to try that way around.
Nicholas Robinson (02:45):
Um no, but I'm just saying credit where
credit's due, Thank you.
But Katherine Bradford is.
You know, we talk a lot aboutartists who have a very
important role in history andperhaps their influence, their
achievements, have not beennoticed or acknowledged as much
(03:06):
as we think should be the case.
Katherine Bradford is a littlebit different in that she's been
painting for quite some timebut, um, it took her a long time
to get noticed.
Um, she'd be the first to saythis, having achieved, you know,
(03:27):
a good, solid career now, buthaving taken a long time to get
to that place.
But I suppose I guess yourquestion was related to the
biographical information, right?
Jeppe Curth (03:39):
Just to get a background.
Yeah, a little bit ofbackground, as I also said in
the beginning.
Is she?
Her breakthrough was very latein her career, so maybe we yeah,
a little bit of background.
As I also said in the beginning, her breakthrough was very late
in her career, so maybe wecould start a little bit before
the breakthrough.
Nicholas Robinson (03:49):
Yeah, yeah, makes sense, makes sense.
Well, she was born in 1942 andlived in New York City and
Connecticut.
We don't have, you know,tremendous amounts of
biographical information abouther, not that there's any sort
of great secret, but she'dalways been interested in art.
But as a young person it seemedthat the in her family context,
(04:15):
the bohemian life of an artistwas discouraged or certainly not
encouraged.
So she followed a veryconventional path in life in the
1960s marrying, becoming a sortof dutiful wife and then mother
, um.
She had boy, girl twins born in1969.
(04:35):
Um.
She spent her uh the 1970sliving in Maine, um, and she was
part of an artist communitythat actually included Lois Dodd
and Yvonne, uh Jaquette Um, andwith no training, she made some
abstract works, primarily aboutcolor and its relation to
(04:59):
landscape or the evocation oflandscape.
But in the late 1970s sherealized that she, the artist's
life, was a life that she wantedand it was a life that she was
not leading, and she had to makea determination about how to
(05:21):
get this life.
So in 1980, with the sort ofdisapproval of her family
ringing in her ears, I supposeshe she moved to New York city
in order to pursue a life in artand to be in contact with an
active arts community.
So already she was 30 years ofage when she determined that she
(05:43):
needed to make this seriouscommitment to being an artist.
So she, yeah, she studied andthen, in 1987, she enrolled in
graduate studies at SUNYPurchase and very slowly but
surely, began her exhibitingcareer.
Jeppe Curth (06:04):
Good, Thanks, and very slowly but surely began her
exhibiting career.
Good thanks, let's get back tothat because it's a question for
the next part.
But could you start bydescribing her works and maybe
also the accruing themes andmotifs?
Nicholas Robinson (06:19):
she had.
Sure, I mean the firstpaintings that started to gain
her some attention, from the2000s.
A lot of them had a had amarine theme Collectives of
people related to being on boats, being in the sea, paintings of
swimmers.
The other bodies of workinclude Superman and superhero
(06:53):
paintings, figures, sort ofliberated and flying free, and I
guess I mean one of the veryfirst sort of significant
paintings I suppose that she hasdone is a painting called
Runaway Wife, and there are manypaintings that sort of relate
to this theme of liberation,emancipation.
In fact, there's a reallyinteresting quote from her, if I
may read it, so this is herwords I was living in Maine year
(07:19):
round in the 1970s.
I had two children and anambitious husband who basically
wanted to be governor of Maine.
When I realized theimplications of that, I thought
this is going to be a trainwreck and I didn't want to get
divorced, but I also didn'tthink I could be the first lady
in the governor's mansion.
One day my husband invited somecolleagues over for lunch and I
(07:41):
told him I just couldn't hackit.
I didn't want to be there forone more lunch.
So when the people came downthe driveway to our home, I
jumped out of a window and ranto my studio.
So this is a story that ofcourse tells a lot about her
mindset and about herdetermination to free herself
from the shackles of this veryconventional, straightening life
(08:04):
and, yeah, embrace an artisticlife, the life of an artist, the
path of an artist.
So these earlier bodies of workare characterized by the
thematic subjects that we'vealready talked about the
individual figure, sort offlying free or caped, so of
(08:26):
course in this sense they're asuperhero, sometimes very
specifically Superman.
And then we have the figures onboats and then swimmers,
individual swimmers, groups ofswimmers or people gathered by
the shore.
And the way these paintings aremade they consist of large
(08:49):
swathes of colour, blocks ofcolour that are built up through
thin glazes, so the glazes areaccumulated on the surface to
create this sort of depth ofsaturation for any given colour,
and then the figures kind ofemerge, or sort of depth of
saturation for any given color,and then the figures kind of
emerge or sort of disappear alittle bit into these color
(09:12):
fields, these blocks and theseblocks.
They overlap each other, so youhave these sort of diaphanous
patches of color where you havethese very sort of softly
blended areas where the twotypes of colour overlap and
these colours are designed toevoke elements of the landscape
or different times of day ornight, or seasons or whatever.
(09:35):
So that's really what thepaintings are look like.
And then the figures.
In these paintings the narrativeis extremely ambiguous.
We don't know exactly theinterrelationship between these
figures.
So we see single figuresexisting in a somewhat
(09:56):
flaneur-like attitude.
Perhaps we see families, we seelovers, heroes and sometimes
quite many people, a large groupof people.
So we have differentcommentaries on the individual,
the personal and the communityand the various ways in these
different elements can interact.
(10:17):
As part of this sort of generalrumination on the human
condition, one imagines thehuman condition, one imagines.
Often we get this kind of sortof slightly nondescript feel,
this more atmospheric feel,because the figures themselves
are very soft-edged, with noparticularly strong definition
(10:38):
in the facial features, so wecan't read them in terms of what
they're saying or doing orthinking.
So they become very, verygeneralized and a very sort of
soft edged, um, uh, atmosphericevocation of something, um, and
because the paintings are sortof built up in this way, um,
(10:58):
with these, with these layers ofglazes, um, we get a very
particular kind of lighting andthere's no individual light
source in these paintings.
The source of light in thepaintings is from within.
So these paintings, they have asort of a soft ethereal glow as
(11:20):
a result of having this sort ofpainterly luminosity and this
light that somehow appears tobegin within the painting and
then somehow come outwards to us, the viewer Um.
So that's a very specificquality, that's a very important
part of looking at her work andunderstanding her work and
(11:42):
feeling her work Um.
So then all of these elements,they sort of combine um to
create these, these, thesefigurative abstractions Um, if I
could use that term.
Um and the the, the events thatare transpiring in the paintings
are always fictitious Um.
She completely invents thesescenes um and these figures in
(12:07):
these compositions, and then shedevelops them by intuition Um.
She comes into the studio inthe morning and there's a lovely
video that I've seen of her umpaint trays arranged on a work
bench and they are not cleanedfrom from the day before, from
(12:27):
the week before Um.
There's just this sort ofaccumulation of paint in her
signature colors um, which isvery nice to see, and then these
very crusty brushes um sort ofstaying wet in these, in these
um trays of paint and, and shelikes to not clean her brushes
because she likes to be able tocome in in the morning and she
(12:48):
doesn't like to clean up because, of course, that's tedious and
she doesn't want to begin theday with a sort of a chore like
routine.
She wants to be able to come inand survey the multitude of
paintings that are arrangedaround her, all of which she's
working on and evolvingsimultaneously, and then she
(13:12):
just wants to be able to get inthe zone and to start the
challenge of moving thesepaintings forward in whatever
way comes to her intuitively.
So it's, it's really it's areally nice process.
Um, that is, you know, becomesvery clearly reflected in the
way these paintings look.
Um, and then I suppose, if I'mgoing to talk about the final
(13:33):
characteristic of her paintings,um, a visual characteristic
that is most striking about themis the perspective, now these,
because you have these flatswathes of color, um, often
actually also sort of finishedwith this scumbled, um, uh,
paint application on the verytop layer, the very top surface,
(13:54):
and, and by that I mean a sortof a drier pigment that is sort
of almost like scratched ontothe surface, um, with a, you
know, with a dryer brush, so youhave some accumulation of small
areas of impasto on the surface, but fundamentally you've got
these big blocks of colour andthe way they are arranged gives
(14:18):
a very sort of non-specificsense of perspective.
So the sort of space that thesepaintings inhabit is not the
same sorts of planes that we'reused to in highly realistic
painting, but it's a much moresort of atmospheric sense of
coming in and out.
Jeppe Curth (14:38):
Yes, thank you, nick, and that is what they look
like.
Can you maybe say a bit moreabout her palette and colors?
Nicholas Robinson (14:47):
Yeah, the colors are very, very often
bright, luminous colors, very,very kind of warm colors often,
but a strong, strong.
She's a strong colorist and Isuppose you know you can see her
.
You know she's a New Yorkpainter.
I suppose you know you can seeher.
(15:09):
You know she's a New Yorkpainter.
I suppose, essentially, eventhough her paintings are
ostensibly figurative paintings,there's a great deal of
abstraction within them, ifthat's not too much of a paradox
(15:31):
.
The colors that she chooses towork with, I mean you can see
the influence of Matisse andBonnard very sumptuous, rich,
saturated fields of color fromwhich these figures emerge or
submerge.
I guess, to talk about her workin a wider art historical
(15:53):
perspective, figures in thewater is extremely prevalent in
her work and recurs, you know,over many, many years, many
bodies of work and of course thetheme of the bather in painting
is a very longstandingclassical one.
I mean, in the 19th century wecould see the bather, the nude
(16:13):
bather, sort of dressed up inclassical themes in the work of
Cabanel or Bougerot, and then inCorbet, the work of Corbet, and
(16:40):
then in the later 19th centurythe work of Bonnard and Matisse.
Really important sort oflineage, I guess, not
necessarily to place her veryspecifically, but to understand
different examples and how shemight be placed within that kind
of trajectory.
So, nick, let's get some factson the table.
(17:16):
Okay, yeah, so can you take itaway?
Uh, okay, well, um, for, uh,she's in her 70s now and and I
suppose in terms of a career, wecan still describe her as a
relatively new artist.
Um, she came to prominence inthe in the two thousands, or
prominence.
She started to gain sometraction with her work in the
two thousands and I suppose wecould trace her breakout
(17:37):
exhibition to 2016,.
Um, which was her first soloexhibition with Canada, which is
a really nice gallery, reallygood gallery in New York City.
But her teaching, beyond herexhibiting career, she has an
important role as a teacher andher teaching legacy includes
(17:59):
influencing many young artiststhrough various teaching
positions.
She's taught at thePennsylvania Academy of Arts.
She's taught at the FIT in NewYork Fashion Institute of
Technology, that is.
She's taught at the SkowheganSchool of Painting and Sculpture
in Maine and in 2017-18, shewas also the senior critic on
(18:20):
the painting faculty at the YaleSchool of Art.
So she's, you know, she's beeninvolved in some really
venerable institutions.
Um, where she's, where she'sbeen teaching painting.
Um, she's received quite a niceuh array of awards and honors.
Uh, she's been granted aGuggenheim fellowship, a Joan
(18:43):
Mitchell foundation grant.
She's been elevated to theAmerican Academy of Arts and
Letters and, in a really nicesort of you know gesture nod to
her status, she was commissionedto make a mural, a set of
murals for the First Avenuestation on New York City
(19:04):
Subway's L train, murals for thefirst avenue station on new
york city subways l train.
You know this is out inwilliamsburg, uh, brooklyn uh,
where she's had her studio formany years, um, starting in the
1980s when she moved back to thecity.
This was a neighborhood thatwas really just a neighborhood
consisting largely of polishimmigrants and not at all an
artistic bohemian neighborhood.
(19:24):
It was really just a cheapplace for artists with no money
to get studio space.
But now she has this incredibleset of murals in the in the
subway station.
So that's the sort of a nicepublic acknowledgement of her,
of her role in this communityand her, you know, a role as an
important artist to gain such acommission In public collections
(19:48):
.
Her paintings are in some reallyquite prominent public
institutions, including theMetropolitan Museum of Art as, I
suppose the most prestigious ofthese the Brooklyn Museum.
The Portland Museum of ArtModern Art Museum of Fort Worth,
texas.
The Portland Museum of ArtModern Art Museum of Fort Worth,
texas.
Pennsylvania Academy of FineArts in Philadelphia.
(20:09):
So she's, she's, she's.
She's being acquired byimportant institutions, I
suppose primarily in the UnitedStates, but she has some really
nice galleries.
The gallery that has, I guess,been most indelibly associated
with building her career isCanada.
That I've already mentioned.
(20:31):
And who else?
She shows with KatharineRapetto in Milan.
She has a really nice gallery.
She's done some really niceshows with Gilles Presti and
Emanuele Campoli.
They had a gallery calledSudden Lane which became
Campoli-Presti.
She's shown with Haverkampf inBerlin.
(20:53):
So she has really nicemedium-sized galleries that have
a really nice sort of outsizedinfluence in their individual
sort of geographic markets butwith a really nice nice programs
related to painting and such so, as you just mentioned, uh,
(21:19):
nick, with the numbers, uh andyears, bradford started showing
frequently in New York in 2007and up In 2016,.
Jeppe Curth (21:30):
as you said, she did her first exhibition at
Canada and after this exhibition, her career as an artist
started taking off.
She recently gained significantattention, I would say, in
popularity around collectors.
Um, what do you think hascontributed to her rise in in
(21:55):
interest?
Nicholas Robinson (21:57):
um, well, a figurative painting, I guess,
sort of goes in and out of voguea little bit.
So her painting, firstly, hassort of coincided with an
interest in this kind ofenigmatic, narrative, figurative
painting.
She's really a good painter andpeople that are highly skilled
(22:18):
in their field invariably notalways, but often get the
attention that their, their workuh, deserves.
Um, and she's, you know, she'sa really contemporary painter in
that her painting reallystraddles this interesting sort
of ambiguity, uh, this paradoxuh, between figuration and
(22:42):
abstraction, between figurationand abstraction.
The paintings, like I said,have very large blocks of sort
of washy color.
They're very flattened out, sothey don't tend to evoke a very.
They don't have an easyrelationship with perspectival
(23:03):
space, they tend to sort ofrepudiate those conventions.
So there's a sort ofsimplification of figure ground
relationship, which, which isreally nice.
So they've, they're verydistilled, very elemental, and
that you know they're very,they're very poetic.
So any, any, any, any work thatembodies all of these kinds of
(23:28):
qualities, these technicalqualities.
Her paintings are veryatmospheric, with these sort of
primordial atmosphere, theseluminous stars.
They're just, they're just.
Really there's a, there's aincredible delight in these
paintings, um, and obviouslywith combination of really good
galleries, being very dedicatedto the work and uh sort of
(23:51):
institution.
This is a.
This is an artist who startedto become really, really
comfortable in her own skin,having spent a long time
struggling to achieve a certainsort of status, and I don't mean
status in terms of, you know,works costing a lot of money,
just breaking her way inbecoming acknowledged by the
(24:12):
industry, by the art market, bythe art world, struggling for
years to, you know, be treatedrespectfully by her peers.
You know, this is an olderwoman now, who is, you know, a
young artist, I suppose, and yet, and yet, she paints with
maturity and confidence becauseshe's been doing it for a long
(24:33):
time and, you know, all of thesekinds of things have, have
coalesced her auction record is163 000 for 90 by 120 work.
Jeppe Curth (24:46):
Is that her level in on the secondary market and
what are the primary prices onkathleen brentford's?
Nicholas Robinson (24:51):
works um primary prices.
Well, the primary pricesstarted around a 20 25 000 I
guess for a very small paintingum, a painting that is um sort
of a meter and a half, maybe 150centimeters tall.
I think that that's probablyaround 80 000 today.
Um bigger ones more, smallerones a bit less, but this is the
(25:16):
sort of general range.
Secondary market paintings area bit more expensive than her
primary market paintings.
It's not impossible to buy themon the primary market, but it
it is quite difficult and hasbeen quite difficult um why is
that?
we're now into, uh, july 2024and we're seeing a slightly
different art economy.
(25:36):
So, of course, when, when thethe market softens, then it
becomes easier to buy paintingson a primary market, but they
have been very highly demanded.
Um, and you know, like anything, when, when a very good example
becomes available on thesecondary market, it can achieve
a good price.
Jeppe Curth (26:00):
So we have acquired works by Bradford and also
placed some good works withcollectors.
Can you explain the process andlist of buying record and her
works and why do we believe herworks and the future growth in
it?
Nicholas Robinson (26:18):
Well, the paintings are really really good
paintings and they'rereflective, like I said, of an
artist who's really come into arich vein of form.
You know, her maturity sort ofshines through but there's still
like a sort of a youthfulvibrancy, a kind of a faith in
humanity.
There's something reallyuplifting about these paintings.
(26:40):
So, you know, we always have togo on the strength of feeling
that we have for a work.
Obviously, our interest issubstantiated by these other
factors in the market that makeus feel that, you know, we're
not some lone voice in a vacuum.
There's a lot of interest inher work.
(27:01):
They're very well regarded,there's a strong regard for them
across the world.
So we just feel that, you know,these are, they're not cheap
paintings, they're not expensivepaintings.
There's good value for thequality and we feel like it's a
really.
You know it's a really.
It's a really good artist topay attention to and to be
(27:23):
committed to.
So that's that's really what itcomes down to.
Jeppe Curth (27:27):
And what kind of work would be good to acquire
for collectors?
Nicholas Robinson (27:32):
Well, I think that works are best described
in terms of the balance ofcomposition, the quality of the
light, a certain harmony betweenthese elements.
So I suppose, really it justcomes down to a sort of a
qualitative assessment ofindividual paintings, but
(27:52):
thematically, paintings ofswimmers, paintings that have
these figures somehowinteracting.
There's something.
Jeppe Curth (28:03):
The heroes.
Nicholas Robinson (28:03):
There's something, yeah, the hero
paintings are nice People flyingin the air, kind of completely
liberated from their you know,earthly woes, so to speak.
Um, there's something reallyreally nice and free about those
pictures, um, and then I reallythink the paintings that have
this built up, uh, layers ofglazing that allows the kind of
(28:25):
light to shine from within, fromwithin, uh, there's, like I
said, there's no specific lightsource in the paintings, and so
when you feel that they havethis warm inner glow, then I
think that you know you havesomething that really embodies
what she's really good at doingcan you maybe also try to
explain where she is in hercareer?
Jeppe Curth (28:45):
um, I don't believe that we can label her as like a
blue chip artist, but I guessshe's maybe becoming that, or is
that still to be determined?
Nicholas Robinson (28:57):
Yes, absolutely, it's still to be
determined.
I mean, she's a reallysuccessful artist whose work is
still good value, but can goodvalue but can be expensive.
I think that she is a painterwho will really really have a
(29:20):
strong sort of residual careerand reputation, a legacy, if you
like.
I do not think that her worksare sort of transient and
fleeting.
Think that her works are sortof transient and fleeting.
I think they have a strengthand a confidence and a potency
that will endure and I thinkwhen you have something that you
know has the ability to be aunique sort of visual thing that
(29:43):
then can become a an iconickind of look and feel, then then
you have an artist who haslongevity to look forward to,
and I believe that's the casewith her work for sure.
Jeppe Curth (29:56):
So why should everyone consider adding a
Catherine Bradford painting totheir collection?
Well, it's not a Picasso, right?
Picasso, everybody knowsPicasso, but.
But kathleen batford is maybenot that known?
No, but it's um, for for us,with our eyes, with the
(30:17):
knowledge we have with our intothe market, what we believe in,
we think it's a really goodthing to have.
Why is that?
Nicholas Robinson (30:24):
well if, for the reasons that I've described,
I mean, they're, they're just,they're really good paintings,
they're easy to live with,they're easy to see these
qualities that I've described,they have a strong sort of place
(30:44):
.
You can visit any prominent artfair.
You'll see numerous examples ofher paintings.
She is, you know, extremelywell established and yet her
work is enormously lessexpensive than her.
You know more than her peersthat have had a longer career
than she has had.
So I suppose you could sayshe's a, she's a really mature
(31:07):
artist with, you know, a longhistory of developing her craft
and her skills, and yet herprices are more related to a
younger artist.
So you might say you get, like,a lot of painting heritage for
(31:27):
the money that you have to spendto get one, which I think is,
you know, it's good.
I mean, everybody likes to feellike things are good value
rather than overpriced,obviously, um, so I think that's
sort of part of it.
But by the same token, theworks are not sort of $12,000.
They're not cheap pictures.
She is a very well-known artist.
She is an artist whose careeris, you know, been in the
(31:50):
ascendancy for some time.
So my feeling is that that'sjust something that will.
I feel that will continue.
Jeppe Curth (31:57):
Sounds good.
Maybe this is a little bitrecap in it, but for someone new
to the bread for work and nowwant to explore her art, maybe
want to buy some work of hers um, what should they do?
Nicholas Robinson (32:13):
well, um, there's quite a few places where
one can see works by her.
I mean, there's manyexhibitions that she's had.
You can just obviously refer tothe gallery websites that I
mentioned.
Canada has really goodexhibition history with her
going back around 10 years now,so there's always a few shows
(32:37):
that you can look at.
There.
You can see the installationimages, you can see the examples
.
Their website is really welllaid out in that there's really
interesting biographicalinformation.
Each show, of course, has apress release which describes
the thematic nature of thatparticular show and also, what's
really good is is the.
(32:58):
The exhibition pages oncanada's website have links to
all of the press that each ofher exhibitions has received and
there's some really nicereviews that speak of these
kinds of themes.
Um, critically that I havedescribed Um, so that's that's
the first um resource.
(33:18):
I would recommend Um and Ithink that the um, uh, emanuela
Campoli's website is really goodalso Um, and then and then just
you know, googling her name,you'll see.
Actually, one thing that'sreally nice is to look at um, is
to look at YouTube.
(33:39):
There's she's been, she's.
She's really a quite a generousinterviewee and there's many
instances of people being withher in her studio you can sort
of get a little taste of whather practice is like, the way
she conceives of herself and herwork and her life as an artist,
and she talks very openly notonly about her struggle and her
(34:00):
journey and her looking for away into this world, but also
her process, her methodology,the way she makes paintings, and
it's really you really can seeand feel how she works thanks,
nick.
Jeppe Curth (34:14):
Um, I think we covered the most of katherine
breadford.
Do you have anything to add?
Nicholas Robinson (34:18):
no, I I don't .
I think that that we've we'vedescribed, we've described her
work, we've described her careerpath to the kind of status that
she enjoys now.
We've talked about what to lookout for.
We've talked about her place inthe market.
Um, she's a really really areally great artist, um, who,
who really has a lot of fun withmaking paintings, who obviously
(34:41):
really enjoys and appreciateswhere she's at as an artist.
You know, she's had this sortof circuitous, maybe slightly
torturous, route to get thereand now you can feel that
there's this sort of celebratoryquality in her work, happy in
her own skin, confident in herability, in her achievement.
And you know, look at thepaintings with all of these
(35:03):
things in mind and you can feelthis.
Jeppe Curth (35:08):
Thank you, nick, for once again giving us some
deep insights.
Thank you, eva.
Thank you, nick, for once againgiving us some deep insights.
Thank you, so if you have oryou want to know more about uh
katherine battery, if you haveany request or you, you can
contact us at info at nordic artpartnerscom and we will do
whatever we can to help you.
Thank you for listening to usand I hope to have you.
(35:29):
Thank you for listening to usand I hope to have you back.
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