Slika, ki je prinesla slavo umetniku Adam Pendleton, je History (Lab 1964 Grey) (2005); razpostaja v muzeju Carnegie Museum of Art, Pittsburgh. Od 1 del umetnika Adam Pendleton v našem katalogu so teh 1 najbolj občudovalnih, od katerih je vsak predstavljen z letnico nastanka, muzejem in tistim, kar ga loči od drugih.
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1 muzejev, ki vsebujo največ slik na tej strani.
| Muzej | Mesto | Sloga Adam Pendleton | Slike iz tega seznama |
|---|---|---|---|
 Carnegie Museum of Art |
Pittsburgh | 1 | History (Lab 1964 Grey) |
Vsako datirano vrhunsko delo umetnika Adam Pendleton na tej strani pripada letu 2005: tukaj so.
History (Lab 1964 Grey) (2005)
21 let: delo History (Lab 1964 Grey) iz leta 2005, pri čemer je Adam Pendleton rodil/a v 1984.
V našem katalogu je na voljo 1 del avtorja Adam Pendleton.
Večina njih se nahaja v Carnegie Museum of Art (Pittsburgh). Zgornja tabela navaja muzeje posamezno.
Adam Pendleton is an American conceptual artist whose diverse practice encompasses painting, silkscreen, collage, video, performance, and word art. Born in Richmond, United States, he began writing poetry at an early age and later transitioned into painting. His academic journey included studying at the Artspace Independent Study Program in Peitrasanta, Italy, before moving to New York in 2002. Currently, he divides his time between New York City and Germantown, New York.
His work often involves the investigation of language and the recontextualization of history through appropriated imagery. Pendleton's artistic output has been featured in various international exhibitions, including shows at the Museum of Modern Art, the Whitney, the New Museum, and La Triennale at the Palais de Tokyo in Paris. In 2024, he was honored with the Rosenthal Family Foundation Award for Painting from the American Academy of Arts and Letters.
A central concept in Pendleton's work is "Black Dada," a term he uses to discuss the present moment by addressing both the future and the past. This concept is exemplified in his Black Dada series of paintings, which feature partial views of Sol LeWitt's cube sculptures alongside letters derived from the phrase "Black Dada." This phrase itself originates from the 1964 poem "Black Dada Nihilismus" by Amiri Baraka.
His various series and installations explore different visual and linguistic systems: