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Coles Adam Pendleton: Love, Queen at Village Green Shopping Centre in Vernon, BC
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Delving behind the scenes of Black Dada pioneer Adam Pendleton’s multilayered, genre-redefining painting practice The work of American artist Adam Pendleton (born 1984) blurs the distinctions among painting, drawing and photography through a process involving abstractionist mark-making, stenciling techniques and screenprinting.
This volume irradiates the creation and production of Pendleton's landmark exhibition at the Hirshhorn Museum and Sculpture Garden, comprising 35 new and recent paintings from his Black Dada , Days , WE ARE NOT , Composition and Movement bodies of work as well as one single-channel video, Resurrection City Revisited (Who Owns Geometry Anyway?) . Carefully composed by legendary book designer Irma Boom, Love, Queen intermingles full-bleed reproductions with photographs of Pendleton's studio shot by the artist himself. It also features a thoroughly researched essay by the museum's former chief curator, Evelyn Hankins, that positions Pendleton as a leading painter of his generation, alongside texts by critics and theorists Barry Schwabsky and Jack Halberstam.
Delving behind the scenes of Black Dada pioneer Adam Pendleton’s multilayered, genre-redefining painting practice The work of American artist Adam Pendleton (born 1984) blurs the distinctions among painting, drawing and photography through a process involving abstractionist mark-making, stenciling techniques and screenprinting.
This volume irradiates the creation and production of Pendleton's landmark exhibition at the Hirshhorn Museum and Sculpture Garden, comprising 35 new and recent paintings from his Black Dada , Days , WE ARE NOT , Composition and Movement bodies of work as well as one single-channel video, Resurrection City Revisited (Who Owns Geometry Anyway?) . Carefully composed by legendary book designer Irma Boom, Love, Queen intermingles full-bleed reproductions with photographs of Pendleton's studio shot by the artist himself. It also features a thoroughly researched essay by the museum's former chief curator, Evelyn Hankins, that positions Pendleton as a leading painter of his generation, alongside texts by critics and theorists Barry Schwabsky and Jack Halberstam.
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