In the heart of Washington, Adam Pendleton’s work demands deep thoughtWhen Adam Pendleton begins preparing for an exhibition, his first step is always the same: build a model of the space. Pendleton, who lives and works in New York, has employed this process for years, as he has prepared for shows in New York, London and Los Angeles. He finds that it allows him to visualize and refine his approach before and during installation. His first solo exhibition in Washington, D.C., “Adam Pendleton: Love, Queen,” at the Hirshhorn Museum and Sculpture Garden was no exception. It opened April 4 and runs through Jan. 3, 2027. Pendleton, 41, had a very clear vision for the show from the start. He noted that, to him, the unique thing about art was its ability to function both within a particular moment and outside of it, offering a timeless reflection. Exploring the relationship between Blackness and abstraction“Love, Queen” features 35 of Pendleton’s paintings, displayed in the museum’s second-floor inner-ring galleries. The paintings represent five different bodies of work: Some of the canvases are from three of Pendleton’s ongoing series — “Black Dada,” “Days” and “WE ARE NOT” — while others are from two new series, “Composition” and “Movement.” Through “Black Dada” — the name of Pendleton’s evolving conceptual framework, as well as the title of one series of paintings — Pendleton explores the relationship between Blackness and abstraction. His process begins on paper, where he builds compositions through paint, ink and watercolor, often incorporating stenciled text and geometric shapes. These works are then photographed and transformed through screen printing, blurring the lines between painting, drawing and photography. The final works reflect his belief in paintings as a powerful force.
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