Images: Adrienne Edwards, 2013. Photo by Whitney Browne; Adam Pendleton, 2012. Photo by Paul Mpagi Sepuya. Courtesy Pace Gallery.
Featuring artist Adam Pendleton and Adrienne Edwards, Associate Curator, Performa
Monday, July 21, 2014
7:00 p.m. program | 8:15 p.m. reception
Doors open at 6:45 p.m.
The Celeste Bartos Theater (Theater 3)
The Lewis B. and Dorothy Cullman Education and Research Building
4 West 54th Street
New York, NY
GENERAL ADMISSION TICKETS ($35), MEMBER TICKETS ($20) MAY BE PURCHASED AT THE MUSEUM INFORMATION AND FILM DESKS, ONLINE AT MOMA.ORG, OR THROUGH THE FRIENDS OF EDUCATION OFFICE.
ALL TICKETS WILL BE HELD AT DOOR.
Presented by The Friends of Education of The Museum of Modern Art as part of the series Conversations: Among Friends, this event features a conversation between artist Adam Pendleton and curator, scholar, and writer Adrienne Edwards. Following the program, guests are invited to continue the conversation and meet the participants at an intimate reception catered by Fantasy Fare in the Cullman Mezzanine.
Adam Pendleton (b. 1984, Richmond, Virginia) is a Conceptual artist known for his multidisciplinary practice, which moves fluidly between painting, publishing, photographic collage, video, and performance. His work centers on an engagement with language, in both the figurative and literal senses, and the re-contextualization of history through appropriated imagery in order to establish alternative interpretations of the present and, as the artist has explained, “a future dynamic where new historical narratives and meanings can exist.” Pendleton has been included in significant exhibitions in America and Europe, includingLove Story – The Anne & Wolfgang Titze Collection, Winter Palace and 21er Haus, Belvedere, Vienna (2014); La Triennale, Palais de Tokyo, Paris (2012); Ecstatic Alphabets/Heaps of Language, MoMA, New York (2012); Greater New York 2010, MoMA PS1, New York (2010); The Generational: Younger than Jesus, New Museum, New York (2010); Afro-Modernism: Journeys through the Black Atlantic, Tate Liverpool (2010); Manifesta 7, Trentino-South Tyrol, 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); Manifesto Marathon, The Serpentine Gallery, London (2008); Sympathy for the Devil: Art and Rock and Roll Since 1967, Museum of Contemporary Art, Chicago (2007); Performa 07, New York (2007);Talk Show, ICA, London (2007); Resistance Is, Whitney Museum of American Art, New York (2007); Frequency, The Studio Museum of Harlem (2005–06); and Double Consciousness: Black Conceptual Art Since the 1970s, Contemporary Arts Museum, Houston (2005).
Adrienne Edwards is a curator, scholar, and writer of performance with a focus on artists of the African diaspora and the Global South. She is an associate curator at Performa and a PhD candidate in performance studies at New York University, where she is a Corrigan Doctoral Fellow. Edwards’s research interpolates visual and time-based art, experimental dance, critical race theory, feminist theory, and post-structuralist philosophy. She has curated and co-organized numerous performance art projects, including Rashid Johnson's first live work, Dutchman; Dave McKenzie's All the King's horses...none of his men; Clifford Owens's Five Days Worth; Fluxus founding member Benjamin Patterson's first retrospective concert Action as Composition; and Pope.L's Cage Unrequited; among others. Edwards is a contributor to numerous exhibition catalogues and art publications—including Clifford Owens: Anthology, for MoMA/PS1, Performa, 11 for Performa, Fore, for the Studio Museum in Harlem, and Wangechi Mutu, for the Museum of Contemporary Art Sydney—and is performance reviews editor for the journal of feminist theory Women & Performance.