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Pendleton, a New York-based artist, is known for work animated by what the artist calls 'Black Dada,' a critical articulation of blackness, abstraction, and the avant-garde. Drawing from an archive of language and images, he makes conceptually rigorous and formally inventive paintings, collages, videos, and installations that insert his work into broader conversations about history and contemporary culture. Pendleton's multilayered visual and lexical fields often reference artistic and political movements from the 1900s to today, including Dada, Minimalism, the Civil Rights movement, and the visual culture of decolonization.
A dialogue of materials and process, space and language, architecture and art This new volume, designed in collaboration with American artist Adam Pendleton (born 1984) and Ghanaian British artist and architect David Adjaye (born 1966), explores the blurred boundary between art and architecture. Featuring new silkscreen canvases by Pendleton and marble sculptures by Adjaye, this publication brings the artists and their works into conversation. The two collaborators discuss their respective practices and their process of working together on the creation of the exhibition at Pace, as well as notions of history, language, abstraction and space--whether architectonic or on canvas--and how these themes involve and reveal themselves in their work. Images of finished artworks are interspersed with photographs of their production, giving a behind-the-scenes look at process, from the quarrying, cutting and polishing of marble for Adjaye's works to the meeting of ink and canvas in Pendleton's studio.
The first encompassing publication on the work of the American neo-conceptual artist Adam Pendleton Adam Pendleton is a Virginia-born, New Yorkbased artist known for his multifaceted, language-based practice, which includes film, collage, painting, performance, and publishing. His re-contextualization of history often results in fresh interpretations of the present, where new and old narratives and meanings co-exist, as one of his main projects, Black Dada (2008-ongoing) testifies. Working predominantly in black-and-white, and often in collaboration with other artists, Pendleton's work constantly explores issues related to mechanisms of representation and notions of race.
The sequel to Pendleton's acclaimed Black Dada Reader, compiling an anti-canon of radical experimentation and thought In 2011, artist Adam Pendleton (born 1984) assembled Black Dada Reader, a compendium of texts, documents and positions that elucidated a practice and ethos of Black Dada. Resembling a school course reader, the book was a spiral-bound series of photocopies and collages, originally intended only for personal reference, and eventually distributed informally to friends and colleagues. The contents--an unlikely mix of Hugo Ball, W.E.B. Du Bois, Adrian Piper, Gertrude Stein, Sun Ra, Stokely Carmichael, Gilles Deleuze--formed a kind of experimental canon, realized through what Pendleton calls radical juxtaposition. In 2017, Koenig Books published the Reader in a hardcover edition, with newly commissioned essays and additional writings by the artist. A decade later, Pendleton has composed another reader, building upon the constellation of writers, artists, filmmakers, philosophers and critics that emerged in the first volume. Contributors include: Thomas Hirschhorn, Ishmael Houston-Jones, Lorraine O'Grady and Joan Retallack. Source texts by Toni Cade Bambara, Gilles Deleuze, Julius Eastman, Henri Lefebvre, Clarice Lispector, Achille Mbembe, Charles Mingus, Piet Mondrian, Juliana Spahr, Malcolm X and others.
Reframed, reconditioned and perpetually reoccurring, found images have served as Adam Pendleton's (born 1984) primary tools and source material throughout his practice. Becoming Imperceptible follows the logic of Pendleton's museum installations, constructing social and aesthetic histories, comprised of images in process and inscribed in the structure of their container. Drawing on a diverse archive that traverses European, African and American avant-gardes and civil rights movements of the last century--from Dada and Bauhaus to Black Lives Matter literature, from Language poetry to Black Power poetics, from Conceptual art to African Independence movements--Becoming Imperceptible frames a complex dialogue between culture and system. This artist's book, the first in a Siglio collection accompanying exhibitions at the Contemporary Arts Center, New Orleans, embodies Pendleton's practice by inviting the reader in an unfolding conversation about race and history, art and form.
Pace Gallery is pleased to present Blackness in Abstraction, an exhibition curated by Adrienne Edwards tracing the persistent presence of the color black in art, with a particular emphasis on monochromes, from the 1940s to today. Featuring works by an international and intergenerational group of artists, the exhibition explores blackness as a highly evocative and animating force in various approaches to abstract art.--Pace website.
Today we live in a “glut of images.” What does that mean? Men and Apparitions takes on a central question of our era through the wild musings and eventful life of Ezekiel Hooper Stark, cultural anthropologist, ethnographer, specialist in family photographs. We are the Picture People. I name us Picture People because most special and obvious about the species is, our kind lives on and for pictures, lives as and for images, our species takes pictures, makes pix, thinks in pix. What is behind the human drive to create, remake, and keep images from and of everything? What does it mean that we now live in a “glut of images?” Men and Apparitions takes on a central question of our era through the wild musings and eventful life of Ezekiel Hooper Stark, cultural anthropologist, ethnographer, specialist in family photographs. As Ezekiel progresses from a child obsessed with his family’s photo albums to a young and passionate researcher to a man devastated by betrayal in love, his academic fascinations determine and reflect his course, touching on such various subjects as discarded images, pet pictures, spirit mediums, the tragic life of his long-dead cousin the semi-famous socialite Clover Adams, and the nature of contemporary masculinity. Kaleidoscopic and encyclopedic, madcap and wry, this book that showcases Lynne Tillman not only as a brilliant original novelist but also as one of our most prominent thinkers on culture and visual culture today.
“A pathbreaking meditation . . . shifts the discussion . . . from . . . notions of guilt and innocence to the complexities of responsibility and accountability.” —Amir Eshel, Stanford University When it comes to historical violence and contemporary inequality, none of us are completely innocent. We may not be direct agents of harm, but we may still contribute to, inhabit, or benefit from regimes of domination that we neither set up nor control. Arguing that the familiar categories of victim, perpetrator, and bystander do not adequately account for our connection to injustices past and present, Michael Rothberg offers a new theory of political responsibility through the figure of the implicated subject. The Implicated Subject builds on the comparative, transnational framework of Rothberg's influential work on memory to engage in reflection and analysis of cultural texts, archives, and activist movements from such contested zones as transitional South Africa, contemporary Israel/Palestine, post-Holocaust Europe, and a transatlantic realm marked by the afterlives of slavery. An array of globally prominent artists, writers, and thinkers—from William Kentridge, Hito Steyerl, and Jamaica Kincaid, to Hannah Arendt, Primo Levi, Judith Butler, and the Combahee River Collective—speak show how confronting our own implication in difficult histories can lead to new forms of internationalism and long-distance solidarity. “A significant work by a major scholar . . . .While drawing on a global range of histories and texts, the book never loses focus on the contemporary moment.” —Robert Eaglestone, Royal Holloway, University of London “Offer[s] a fresh vocabulary to confront our personal and collective responsibility in the face of massive political violence, past and present.” —Marianne Hirsch, Columbia University
Haunch of Venison Berlin is delighted to present EL T D K, the gallery?s first exhibition of work by US artist Adam Pendleton and the artist?s first solo-exhibition in Europe. The exhibition will include two new series of wall based work, System of Display and the Black Dada paintings, as well as an installation of a quasi-minimalist sculpture composed of black cubes.
A History of Pendleton County, West Virginia by Oren Frederic Morton, first published in 1910, is a rare manuscript, the original residing in one of the great libraries of the world. This book is a reproduction of that original, which has been scanned and cleaned by state-of-the-art publishing tools for better readability and enhanced appreciation. Restoration Editors' mission is to bring long out of print manuscripts back to life. Some smudges, annotations or unclear text may still exist, due to permanent damage to the original work. We believe the literary significance of the text justifies offering this reproduction, allowing a new generation to appreciate it.