Mark Bradford’s “A Truly Rich Man Is One Whose Children Run Into His Arms Even When His Hands Are Empty.’’ (Joanne Rathe/Globe Staff)
Imposing and even quite grand at a distance, Mark Bradford’s paintings, like the sprawling cities they evoke, suggest ruins up close.
They are ruins — the ruins of other modes of communication, other forms of speech. One over the other, Bradford layers old billboard signs, maps, and street posters. They’re salvaged, shredded, stripped, glued on, and rubbed back.
Working intuitively, he converts all these materials and more into works of art that are dense with history, freighted not only with political and social readings but with an abiding, poignant silence.
It’s the silence that gets under your skin. To wander around Bradford’s superb survey show at the Institute of Contemporary Art is to oscillate between the desire to get up close and even to touch (the impulse to run your fingers over their corrugated surfaces is almost impossible to resist) and a growing sense that you are in fact looking on from unreadable distances, like a general watching a chaotic battle from the top of a distant knoll, or an uncomprehending politician flying high over a disaster zone.
Sebastian Smee
Boston Globe
Slow Painting 
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