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  • Artforum Mcdonough Adam-Pendleton November 20113

    Diunggah oleh

    Patrick Sweeney
    7 tayangan8 halaman

    Judul Asli

    Artforum Mcdonough Adam-pendleton November 20113

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    7 tayangan8 halaman

    Artforum Mcdonough Adam-Pendleton November 20113

    Diunggah oleh

    Patrick Sweeney

    Hak Cipta:

    Attribution Non-Commercial (BY-NC)
    Unduh sebagai PDF atau baca online dari Scribd
    Tandai sebagai konten tidak pantas
    dari 8
    The Parallax View TOM McDONOUGH ON THE ART OF ADAM PENDLETON lek, Memo (2004) James Baldwin, A Rap on Race (1971) WE USED TO THINK OF HISTORY as che eal ofthe serled as an nalterabl past, a8 a nightmare. That was the legacy bequeathed us by the past century's catastrophes, and we are sil inclined to adopt its 10 gaze back, lke Walter melancholic responses Benjamin's angel of history 0 the ruins as they have piled up, as on che inexorable logic of some tragedy Bur while we can never redeem what hasbeen lot, beng reconstrcted versions of the past ae fore inoue fabrication ofthe present. The curent fasins tion with conjectural histories and what-if scenarios hespeaks profound desire to imagine nor only ather that_man was singing that -man was singing baby it you come withme ilimakeyou my own dary queen oF if that’s looked well find an all night jack rings blackberry strawberry butterscotch shake blackberry strawberry butterscotch shake baby ifyoucome now baby — if you baby ifyou come ow Pethaps we can consider this fascination to bea simaltancously poetic and political eeacton to the continual deferal ofa more equitable and humane society, something ike the emancipatory verso ro conspeacy theories, which ae, with all their atten ddan ressentimen, che othe rea historical obsession ‘ofourtime, In contrast the conviction tht un ‘omable eabals have eradicated individual agency, conjectural history preserves a space fr subjective action and uncertane. I allows us, however naively, to perceive the furuce atl open. Historical novels and thie filmic progeny egulatly tafficin ou as ination with jst hese sort of imagined situations, burso doesa significant strain ofcontemporasy ar among figures as diverse as Mario Gaccia Torres, Liam Gilick, Olivia Plende, and Tes Vonna-Michell Teds Adam Pendleton, however, who may take this strategy the furthest. Over the pashalf decade he has been making painings, language-based peeformances, essays, and videos in which what f scenarios mix ogeer questions of race, queeress, at history and politics so a8 push the logic of alternative histories 02 radical conclusion: a broad revisioning of our political and social realities, InPendletons first exhibited works, from 2004 and 2005—consstng of text on mural, drawings, land canvates—he began to explore the possiblities of remixing poetic forms. Excerpeing short phases fom ‘writer such as James Baldoin, June Jordan, Audee Lorde, and Toni Morrison, Pendleton reproduced "hie words in lowerease Aral ype on le planes of byillane color he rexts were iregarly spaced, as ifto denote the idiosyncratic rhythms of speech (And even ae this early stage, a peclormative clement was present, with the artist sometimes including an dio recordingin which he ceed these bits of prose and poets in stream of-contcousness farhion) The debe to GlenaLigoa’ o Charles Gaines’ text-based paintings was clear, but che orderliness af his eter Jngand frequent use of ill sercen gave the paintings paradoxical coolness tha brought them closer to conceptual precedent and belied thei highly Iyrical content. For Pendleton routinely steered the frag ‘ments of his souscetexts—'L£MAKEYOU MY OWN DAIRY QUEEN, Say, o€TWO-PEOPLETOGETHERISA MIRACLE—toward questions of race and queernest tha hey may or may not have been engaging in thee otiginal incaenations "These fat works establish an idiosyncratic practice ‘of appropriation and an embrace ofthe peu illoge ‘of poetry that would continue to inform his diverse ‘uur, even ait ange of reference shifted dramati= cally feom the private, or subjective, realm to that of public history, and from a purely text-based model tone that also incorporated a wide range of visual citations drawn from arhstory and photojournalism. Take his ongoing series of “Black Dada” paintings, 2008-, for example, To make these large canvases, Pendleton photocopies reproductions of Sol LeWit’s Incomplete Open Cubes, begun i 1974, enlarging

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