Adam Pendleton Black Dada
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Adam Pendleton: Black Dada Reader
The Black Dada Reader is a collection of texts and documents that elucidates Black Dada, a term the artist Adam Pendleton uses to define his artistic output.The Reader brings a diverse range of cultural figures into a shared cultural space, including Hugo Ball, W.E.B. Du Bois, Stokely Carmichael, and Gertrude Stein, as well as artists from different generations, such as Joan Jonas and William Pope.L.Originally intended to be an in-studio publication, the Reader has expanded to include essays on the concept of Black Dada and its historical implications.
Becoming Imperceptible, Adam Pendleton
Reframed, reconditioned and perpetually reoccurring, found images have served as Adam Pendleton's (born 1984) primary tools and source material throughout his practice. Becoming Imperceptible follows the logic of Pendleton's museum installations, constructing social and aesthetic histories, comprised of images in process and inscribed in the structure of their container. Drawing on a diverse archive that traverses European, African and American avant-gardes and civil rights movements of the last century--from Dada and Bauhaus to Black Lives Matter literature, from Language poetry to Black Power poetics, from Conceptual art to African Independence movements--Becoming Imperceptible frames a complex dialogue between culture and system. This artist's book, the first in a Siglio collection accompanying exhibitions at the Contemporary Arts Center, New Orleans, embodies Pendleton's practice by inviting the reader in an unfolding conversation about race and history, art and form.
Among Others
Among Others: Blackness at MoMA begins with an essay that provides a rigorous and in-depth analysis of MoMA's history regarding racial issues. It also calls for further developments, leaving space for other scholars to draw on particular moments of that history. It takes an integrated approach to the study of racial blackness and its representation: the book stresses inclusion and, as such, the plate section, rather than isolating black artists, features works by non-black artists dealing with race and race- related subjects. As a collection book, the volume provides scholars and curators with information about the Museum's holdings, at times disclosing works that have been little documented or exhibited. The numerous and high-quality illustrations will appeal to anyone interested in art made by black artists, or in modern art in general.