Adam Pendleton (b. 1984, Richmond, Virginia) is a conceptual artist known for his multi-disciplinary practice, which moves fluidly between painting, publishing, photographic collage, video and performance. His work centers on an engagement with language, in both the figurative and literal senses, and the re-contextualization of history through appropriated imagery to establish alternative interpretations of the present and, as the artist has explained, 'a future dynamic where new historical narratives and meanings can exist.'
Text courtesy Pace Gallery.
Galleries have reported stronger than anticipated sales at Frieze New York's Viewing Rooms, which opened to VIPs on 6 May. The online event, initiated after the physical fair was cancelled due to COVID-19, opens to the public from 8-15 May.
Members of The Art Dealers Association of America (ADAA) joined forces for The Art Show at the end of February (27 February–1 March 2020). The 2020 iteration saw more than half of its presentations dedicated to a single artist and 19 exhibitions focused on female artists, in addition to vibrant thematic and group surveys.
Like the Baltimore Museum of Art's books, Louise B. Wheatley's textiles and Pendelton's mixed-media ventures pack a punch (actually, hers is more of a lingering touch). With her, you don't see it coming; with him, you can feel the vibrations down the block. Her mists/his missiles, resounding, both.
Adam Pendleton's Becoming Imperceptible at Museum of Contemporary Art (MOCA) Cleveland offers a refreshing juxtaposition of often-segregated art histories and their cultural counterparts, presenting a multiplicity of perspectives that provide insights into our interconnectedness and future possibilities.
Frustrated creatively in Brooklyn, Mr. Pendleton decamped to Germantown, N.Y., in the Hudson Valley in 2007 to live and work. 'I began thinking very deeply about what it meant to create space for yourself as an artist from an art historical standpoint,' he said. 'But also, what ideas can you contribute to the world as an artist that matter.' Out...
If I had to bet on it, I'd guess that the most commonly cited text by Walter Benjamin is his 1936 essay 'The Work of Art in the Age of Mechanical Reproduction.' But more dogged devotees of the 20th-century cultural critic would no doubt direct you to The Arcades Project, the published version of an unfinished work that Benjamin left behind when...
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