Edited by Adam Pendleton with Alec Mapes-Frances. Introduction by Stuart Comer. Text by Adrienne Edwards, Mario Gooden, Danielle A. Jackson, Adam Pendleton, Lynne Tillman.
In this primer accompanying Adam Pendleton’s MoMA show, the artist behind “Black Dada” fuses musical counterpoint with the aesthetics of protest
Adam Pendleton draws on visual culture and historical archives to explore the ways in which context influences meaning. Referencing a broad range of artistic and cultural currents—including Dada, Minimalism and Black Power—Pendleton reconfigures words, forms and images to provoke critical questioning. Published to accompany Pendleton's installation at the Museum of Modern Art, this reader serves as a primer and handbook to the exhibition and features a number of photocopied textual and visual sources, many of which directly relate to the concept, content and programming of the exhibition. The project questions the notion of the museum as repository and addresses the influence that mass movements, including those of the last decade such as Black Lives Matter and Occupy, could have on the exhibition as form. Drawing on the work of figures as disparate as Glenn Gould, Michael Hardt and Ruby Sales, Who Is Queen? seeks to explore the nexus of abstraction and politics. Adam Pendleton (born 1984) lives and works in New York. His visually distinctive and conceptually rigorous paintings, drawings and other works deploy linguistic, political and historical material in unlikely forms and configurations.
Featured image is reproduced from 'Adam Pendleton: Who Is Queen?'.
PRAISE AND REVIEWS
New York Times
Siddhartha Mitter
“Who Is Queen?” gathers material that addresses a host of contemporary topics. It is prompted by a challenge to the personal identity of the artist, who is Black and gay — the expression “you’re such a queen,” once tossed at him in a way that got under his skin. But he has broadened the concern to American society as a whole — where it is headed, and whether we must all remain shackled to narrow identity labels.
Frieze
Terrence Trouillot
Singular works – representative of different voices in harmony and, perhaps at that time, in discordance with each other – are brought together to form a whole.
Lucy Ives
Generate[s] original, inter-media, transdisciplinary modes of reading
AIGA
Marcus Civin
Resembles a University course reader and a designer’s process book and includes influential thinkers who linger on abstraction and the complexities of political histories and language. It asserts that Pendleton is as much a book designer as a painter and video maker.
Hyperallergic
Zoë Hopkins
Bristles with colossal unrest.
ARTnews
Mira Dayal
Fonts, textures, graphic elements, painted lines, and the visual fuzz of scanned documents form a rhythm across the pages while the texts invite a chorus of voices.
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Featured spreads are from the Adam Pendleton: Who Is Queen? reader, published to accompany the remarkable four-story installation comprised of paintings, drawings, sculpture, video works and audio collage that is “overwhelming” the Museum of Modern Art’s monumental atrium through February 21. “Who Is Queen? is an evolution of the Black Dada project,” curator Stuart Comer writes in his Introduction. “In it, Pendleton has continued his extensive archival research, this time focusing in part on the archives of two institutions—The Museum of Modern Art, New York, and Walker Art Center, Minneapolis—in order to consider the traditional role of museums as repositories. Who Is Queen? also considers the aesthetics of protest, particularly of the Black Lives Matter and Occupy movements, two of the most significant civil-rights campaigns of the past decade.… Who Is Queen? proposes an experimental encounter between social and artistic forms. It is a superstructure in which the perceived fixity of cultural and institutional memory is placed in contrapuntal relation to the social composition of collective protest and popular movements—to ‘compositions of bodies and everything that activates them, including voices, gestures, images, affects, architectures and refrains,’ as the artist has said. Who Is Queen? recalibrates the museum, from a rigid frame designed to regulate official accounts of history into an open, generative, and polyphonic device, the machine of endless variation described in the Black Dada manifesto.” continue to blog
FORMAT: Hbk, 8 x 10.25 in. / 272 pgs / 235 b&w. LIST PRICE: U.S. $45.00 LIST PRICE: CANADA $61 ISBN: 9781633451100 PUBLISHER: The Museum of Modern Art, New York AVAILABLE: 10/12/2021 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA ONLY
Published by The Museum of Modern Art, New York. Edited by Adam Pendleton with Alec Mapes-Frances. Introduction by Stuart Comer. Text by Adrienne Edwards, Mario Gooden, Danielle A. Jackson, Adam Pendleton, Lynne Tillman.
In this primer accompanying Adam Pendleton’s MoMA show, the artist behind “Black Dada” fuses musical counterpoint with the aesthetics of protest
Adam Pendleton draws on visual culture and historical archives to explore the ways in which context influences meaning. Referencing a broad range of artistic and cultural currents—including Dada, Minimalism and Black Power—Pendleton reconfigures words, forms and images to provoke critical questioning.
Published to accompany Pendleton's installation at the Museum of Modern Art, this reader serves as a primer and handbook to the exhibition and features a number of photocopied textual and visual sources, many of which directly relate to the concept, content and programming of the exhibition. The project questions the notion of the museum as repository and addresses the influence that mass movements, including those of the last decade such as Black Lives Matter and Occupy, could have on the exhibition as form. Drawing on the work of figures as disparate as Glenn Gould, Michael Hardt and Ruby Sales, Who Is Queen? seeks to explore the nexus of abstraction and politics.
Adam Pendleton (born 1984) lives and works in New York. His visually distinctive and conceptually rigorous paintings, drawings and other works deploy linguistic, political and historical material in unlikely forms and configurations.
