On East Lancaster Avenue in Fort Worth, Texas, you will encounter, until early July, two rather unusual billboards
and others—to apply their distinctive creative visions to the Fort Worth skyline. The resulting work was pleasingly varied, ranging in style from the colorfully graphic to the moodily ambiguous. But in 2020, as COVID-19 has waged its war on common spaces, the conceit of Modern Billings—namely, its complete dissolution of the gallery environment, insisting instead that the art be seen from a distance, and—has proven prescient.
Bradford’s involvement has also been timely, given the recent wave of Black Lives Matter protests across the country. Born and raised in Los Angeles, the 58-year-old has often engaged questions of identity, community, and race in his work, combining flotsam from the urban environment—old flyers and such—into richly layered collages.
Although the community response to Modern Billings has been somewhat hard to gauge—“I’m sure at first, because you don’t have any logo or any explanation on there, [people] were confused,” Smith says—Barnett and Smith both hope that this summer, viewers will delight in what they see. Beyond the strength of its novelty—“that interruption of what they might expect, and whatever that conjures up for them personally,” as Barnett says—there’s the project’s pure power of representation: In Mr.
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