"I Voted" sticker for the 26 October issue of New York Magazine
48 artists including Adam Pendleton have designed special "I Voted" stickers for four different covers of the October 26 issue of New York Magazine.
The idea was initiated by New York Magazine and nonpartisan organization "I am a voter" to encourage people to engage in the mail-in and early voting for 2020 US Presidential Election. The stickers will be distributed along with the issue, and also be available at book-stores, museums, non-profit organisations, and official polling sites across the country.
New York Magazine
Charles Gaines, Adam Pendleton et al.
Grief and Grievance: Art and Mourning in America (group show)
New Museum, New York
17 February – 6 June 2021
The New Museum is proud to announce “Grief and Grievance: Art and Mourning in America,” an exhibition originally conceived by Okwui Enwezor (1963-2019) for the New Museum, and presented with curatorial support from advisors Naomi Beckwith, Massimiliano Gioni, Glenn Ligon, and Mark Nash. On view from January 27 to June 6, 2021, “Grief and Grievance” will be an intergenerational exhibition, bringing together thirty-seven artists working in a variety of mediums who have addressed the concept of mourning, commemoration, and loss as a direct response to the national emergency of racist violence experienced by Black communities across America. The exhibition further considers the intertwined phenomena of Black grief and a politically orchestrated white grievance, as each structures and defines contemporary American social and political life. Included in “Grief and Grievance” are works encompassing video, painting, sculpture, installation, photography, sound, and performance made in the last decade, along with several key historical works and a series of new commissions created in response to the concept of the exhibition.
Adam Pendleton in conversation with Andrew An Westover (Artist Talk)
Online Event: 1 April 2021, 7pm (EST), on Zoom
Adam Pendleton will be in conversation with Andrew An Westover, Keith Haring Director of Education and Public Engagement at the New Museum, on Zoom, on the 1st of April, at 7pm(EST). This event is hosted by the New Museum in conjunction with the group exhibition "Grief and Grievance: Art and Mourning in America", which will be on view from February 17th.
Join the event by clicking here.
US/U.S., 2020 featured on the cover of Artforum, October/November 2020 issue
Adam Pendleton is featured on the cover of Artforum October / November 2020 issue, as part of "Projects: Art of the Possible".
"For this election issue, Artforum asked nine artists to contribute projects reflecting on a moment that requires us to think the unthinkable. As of this writing, we are waiting to see whether Election Day 2020 will mark an end to the hallucinatory nightmare of Donald Trump's presidency; whether it will constitute a victory of a setback for the white supremacists who enabled him to rise; whether the reactionary violence against Black Lives Matter protesters and other enemies of the regime will effloresce into civil war. We are waiting to see if the unimaginable occurs. But if we are to truly move beyond this presidency and all the forms of violence and injustice that made it possible, we must change in ways that, while positive and necessary, are almost equally far-fetched. "
In a recent interview with Artforum, Adam Pendleton speaks about his work US/U.S., 2020, discussing also his use of spray paint. Watch the video by clicking here.
Who Is Queen? (solo show)
The Museum of Modern Art, New York
11 September 2021 – 2 January 2022
The Museum of Modern Art will present Adam Pendleton: Who Is Queen?, a large-scale multimedia installation that will be on view in the Donald B. and Catherine C. Marron Atrium. Based in New York, Adam Pendleton (American, born 1984) is a Conceptual artist who uses historical and aesthetic content from visual culture to explore the ways in which context influences meaning. Pendleton reconfigures words, forms, and images to provoke critical questioning.
For this presentation, Pendleton’s monumental installation will bring the formal mechanics of musical counterpoint—the folding and unfolding of simultaneous voices—into contact with the aesthetics of protest. For the duration of the exhibition, MoMA’s Marron Atrium will be transformed into an arena encompassed by three wooden, floor-to-ceiling vertical scaffolds. These modular systems, built from four basic units, will be designed to resemble balloon framing used in American house construction.
The Museum of Modern Art