Adam Pendleton, As Heavy as Sculpture, “Grief and Grievance: Art and Mourning in America,” 2021. Exhibition view: New Museum, New York. Photo: Dario Lasagni
A recording of this conversation is available here.
In conjunction with the New Museum’s exhibition “Grief and Grievance: Art and Mourning in America,” the New Museum is honored to host a series of artist conversations highlighting the practices of artists participating in this exhibition.
Adam Pendleton is a New York-based artist known for work informed by what the artist calls “Black Dada,” a critical articulation of blackness, abstraction, and an avant-garde sensibility. Pendleton’s conceptually rigorous and formally inventive paintings, collages, videos, and installations have been the subject of solo exhibitions across the United States and abroad at institutions including Kunst-Werke Institute for Contemporary Art, Berlin (2017); Baltimore Museum of Art (2017); MIT List Visual Arts Center, Cambridge (2018); Isabella Stewart Gardner Museum, Boston (2020); and Le Consortium, Dijon (2020). His 2016 solo exhibition Becoming Imperceptible was organized by the Contemporary Arts Center, New Orleans, and traveled to the Museum of Contemporary Art, Denver, before closing at the Museum of Contemporary Art, Cleveland. In 2021 Pendleton will open a major solo exhibition at the Museum of Modern Art, New York.
His Black Dada Reader, a collection of documents and essays from various sources that relate to the conceptual framework of Black Dada, was published in 2017 by Koenig Books and was subsequently named as one of the best art books of 2017 by The New York Times.
Pendleton’s work is held in numerous public collections including The Museum of Modern Art, New York; Solomon R. Guggenheim Museum, New York; The Studio Museum in Harlem, New York; The Metropolitan Museum of Art, New York; Carnegie Museum of Art, Pittsburgh; Museum of Contemporary Art, Chicago; Museum of Contemporary Art, San Diego; the Dallas Museum of Art; and Tate, London, amongst others.
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