Abstract
This article is based on a painting by Los Angeles-based Black artist Mark Bradford, On a Clear Day, I Can Usually See All the Way to Watts (2001), which was exhibited at SFMOMA in an installation that juxtaposed it to a series of drawings by abstract artist Agnes Martin, Untitled (Study for ‘On a Clear Day'), <https://www.sfmoma.org/exhibition/on-a-clear-day/> (2019–2020). In an extended reading of abstraction and its social implications and of Bradford's engagement with abstract traditions, the article explores the material traces of impurity in his contemporary non-representative visual art. In particular, it focuses on hair as complex sign of impurity, concealment, animality, decay, aesthetic beauty, etc, and of the ways in which its incorporation, materially and metonymically, in the painting disturbs the clarity of the white aesthetic gaze. The article thus considers how the material practices of certain, broadly speaking, postcolonial artists, but in particular the Black ion exemplified by Bradford’s work, challenge the Kantian aesthetic tradition that has dominated the visual arts even in a post-Kantian artistic realm.
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