Z všech obrazů autora Adam Pendleton je nejznámější dílo History (Lab 1964 Grey) (2005); visí v Carnegie Museum of Art, Pittsburgh. Z 1 děl umělce Adam Pendleton v našem katalogu je těchto 1 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Adam Pendleton | Obrazy z tohoto seznamu |
|---|---|---|---|
| Pittsburgh | 1 | History (Lab 1964 Grey) |
Rok 2005 zahrnuje všechna plátna s datem vzniku od Adam Pendleton na této stránce: zde jsou, od těch nejslavnějších.
History (Lab 1964 Grey) (2005)
Adam Pendleton, narozen 1984, měl 21 let: dílo History (Lab 1964 Grey) pochází z roku 2005.
V našem katalogu je 1 děl umělce Adam Pendleton.
Většinou v Carnegie Museum of Art (Pittsburgh); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
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: