{"id":1069,"date":"2021-02-01T13:48:34","date_gmt":"2021-02-01T21:48:34","guid":{"rendered":"https:\/\/www.artandpractice.org\/?p=1069"},"modified":"2021-02-01T13:48:35","modified_gmt":"2021-02-01T21:48:35","slug":"mark-bradford-the-60-minutes-interview","status":"publish","type":"post","link":"https:\/\/artandpractice.org\/es\/news\/mark-bradford-the-60-minutes-interview\/","title":{"rendered":"Mark Bradford: La entrevista de 60 minutos"},"content":{"rendered":"<p>Mark Bradford es considerado uno de los artistas m\u00e1s importantes e influyentes de Estados Unidos en la actualidad. Sus lienzos abstractos, que a menudo tratan temas sociales y pol\u00edticos complejos, cuelgan en los principales museos del mundo y en las paredes de grandes coleccionistas y algunos peque\u00f1os, como yo. El arte de Bradford puede parecer pinturas, pero casi no tienen pintura. Est\u00e1n hechos de capas y capas de papel, que rasga, pega, lava a presi\u00f3n y lija con un estilo propio. Cuando comenz\u00f3 a hacer arte a los 30 a\u00f1os, Bradford no pod\u00eda pagar una pintura costosa, por lo que comenz\u00f3 a experimentar con las guardas, que se usan para peinar el cabello. Se le ocurri\u00f3 la idea mientras trabajaba como peluquero en el sal\u00f3n de belleza de su madre en el sur de Los \u00c1ngeles. Estaba arruinado, luchando y no vendi\u00f3 su primera pintura hasta que ten\u00eda casi 40 a\u00f1os.<\/p>\n\n\n\n<p>Lee el art\u00edculo completo&nbsp;<a href=\"https:\/\/www.cbsnews.com\/news\/artist-mark-bradford-the-60-minutes-interview-2019-05-12\/?fbclid=IwAR3ZLuKTHBwziKMU6oEt10Je6XHAi7e7vfD1StbQVJLEK8g5E0VOviPFMDg\"><strong>aqu\u00ed<\/strong><\/a>.<\/p>","protected":false},"excerpt":{"rendered":"<p>Mark Bradford is widely considered one of the most important and influential artists in America today. His abstract canvases, which often deal with complex social and political issues, hang in major museums around the world, and on the walls of big collectors and some small ones, like me. Bradford\u2019s art may look like paintings, but [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[3],"tags":[],"class_list":["post-1069","post","type-post","status-publish","format-standard","hentry","category-contemporary-art"],"acf":[],"_links":{"self":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1069","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/comments?post=1069"}],"version-history":[{"count":3,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1069\/revisions"}],"predecessor-version":[{"id":1348,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/posts\/1069\/revisions\/1348"}],"wp:attachment":[{"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/media?parent=1069"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/categories?post=1069"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artandpractice.org\/es\/wp-json\/wp\/v2\/tags?post=1069"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}