Adam Pendleton is a New-York based conceptual artist, known for a multi-disciplinary practice and his predominantly black-and-white palette. Often described as the embodiment of a new era, his work captures concepts from Dada, Conceptualism, Minimalism and the Black Arts Movement through a graphical lense. Across painting, collage, appropriation, film, text, printmaking and installations, Adam Pendleton attempts to recontextualize narratives about the past, breaking down rigid historical categories in order to “imagine alternate presents”. In his Black Dada manifesto, Pendleton stated in 2008, “History is an endless variation, a machine upon which we can project ourselves and our ideas. That is to say it is our present moment.” Under the term Black Dada, he explores the relationships between Blackness, abstraction, and the avant-garde, and their respective histories. Adam Pendleton explains the essence of Black Dada as a fluid framing device that enables “a way of talking about the future while talking about the past. It’s about looking at Blackness as an open-ended idea that is not just related to notions of race.” Adam Pendleton’s work has been exhibited internationally, notably at The Museum of Modern Art, New York; the Walker Museum of Contemporary Art, Chicago; the Whitney Museum of American Art, New York; the Deutsche Guggenheim, Berlin; BALTIC Centre for Contemporary Art, Gateshead and the Tate Liverpool.His work is held in public collections including the Museum of Modern Art; Solomon R. Guggenheim Museum, New York; and Tate, London, among others. Adam Pendleton was born in Richmond, Virginia (USA) in 1983.
“Pendleton is a rare artist in his ability to synthesise disciplines and mediums, and to steer with collaborators towards “total works,” which yet remain drafts of a larger essayistic practice. His works—like those of his many avant-garde forebears—are experimental in the truest sense. He sets up a laboratory in which our social and political desires can appear, however fleetingly. Historical materials (images, sounds, and printed language) become a point of departure for making present what cannot be grasped by representations of history (narratives, archives): the emergence of events and situations, which can only become known retroactively.” – T. Donovan, ‘Adam Pendleton‘, in BOMB Magazine, 2011