(born 1984, Richmond, Virginia; lives and works in Germantown and Brooklyn, New York)
Adam Pendleton is a conceptual artist who works in
the media of painting, photographic collage, video and
performance. He also publishes books and periodicals,
and often explores the links between typography, literary
theory and abstraction. In Lorraine O’Grady: A Portrait,
O’Grady, prompted by Pendleton, recites a chronology of
her artistic career. Pendleton disorients viewers by
subverting the natural progression of narrative through
various effects, including soundtracks, abrupt cutaways
and fragments out of context. Rather than recounting art
history in a linear fashion, he highlights the continuing
influence of earlier artists and art historical moments on
contemporary artistic production.
Adam Pendleton completed the Artspace Independent Study Program in Pietrasanta, Italy, in 2002. Pendleton’s solo exhibitions include Adam Pendleton: I’ll Be Your, Pace Gallery, London (2012); Adam Pendleton: New Black Dada Paintings, Galeria Pedro Cera, Lisbon (2012); Adam Pendleton: The Women, Shane Campbell Gallery, Chicago (2011); ELTDK Los Angeles, Roberts & Tilton, Culver City, CA (2010); Adam Pendleton, Haunch of Venison, Berlin (2009); Adam Pendleton: Rendered in Black, Indianapolis Museum of Contemporary Art (2008); Adam Pendleton: Gorilla, My Love, Rhona Hoffman Gallery, Chicago (2005); and Adam Pendleton: Being Here, Wallspace, New York (2004). His group exhibitions include Ecstatic Alphabets / Heaps of Language, Museum of Modern Art, New York (2012); Intense Proximity, Art as Network, La Triennale, Palais de Tokyo, Paris (2012); Fifth Contour Biennial, Mechelen, Belgium (2011); Greater New York, MoMA PS1, Long Island City, NY (2010); Desire, Blanton Museum of Art, Austin, TX (2010); Afro-Modernism: Journeys through the Black Atlantic, Tate Liverpool, England (2010); The Prompt, Performa 09, White Slab Palace, New York (2009); The Generational: Younger than Jesus, New Museum, New York (2009); Matter of Fact, Manifesta 7, Manifattura Tabacchi, Roverto, Italy (2008); After 1968: Contemporary Artists and the Civil Rights Legacy, High Museum of Art, Atlanta (2008); Object: The Undeniable Success of Operations, Stedelijk Museum, Amsterdam (2008); Hey Hey Glossolalia: The Eroticism of Pedagogy, Creative Time, Judson Memorial Church, New York (2008); Resistance Is . . . , Whitney Museum of American Art, New York (2007); Frequency, The Studio Museum in Harlem, New York (2006); Double Consciousness: Black Conceptual Art since the 1970s, Contemporary Arts Museum Houston (2005); and Optimo: Manifestations of Optimism in Contemporary Art, Marfa Ballroom, Texas (2004).