silkscreen on linen, in 2 parts
Each canvas: 48⅛ by 64 in. (122.2 by 162.5 cm.)
Overall: 96¼ by 64 in. (244.4 by 162.5 cm.)
Executed in 2006.
This work is in very good condition overall. There is a 23 inch linear, stable, raised mechanical crack 4½ inches from the upper edge of the upper panel, visible under raking light and upon close inspection. Under ultraviolet light, there is no evidence of restoration. Unframed.
The lot is sold in the condition it is in at the time of sale. The condition report is provided to assist you with assessing the condition of the lot and is for guidance only. Any reference to condition in the condition report for the lot does not amount to a full description of condition. The images of the lot form part of the condition report for the lot provided by Sotheby's. Certain images of the lot provided online may not accurately reflect the actual condition of the lot. In particular, the online images may represent colours and shades which are different to the lot's actual colour and shades. The condition report for the lot may make reference to particular imperfections of the lot but you should note that the lot may have other faults not expressly referred to in the condition report for the lot or shown in the online images of the lot. The condition report may not refer to all faults, restoration, alteration or adaptation because Sotheby's is not a professional conservator or restorer but rather the condition report is a statement of opinion genuinely held by Sotheby's. For that reason, Sotheby's condition report is not an alternative to taking your own professional advice regarding the condition of the lot.
Perry Rubenstein Gallery, New York
Acquired from the above by the present owner in 2006
New York, Perry Rubenstein Gallery, Adam Pendleton: Bam Split Lab and the Afro Futuristic Underground, November - December 2006
“Pendleton is a rare artist in his ability to synthesize disciplines and mediums, and to steer with collaborators toward “total works,” which yet remain drafts of a larger essayistic practice. His works—like those of his many avant-garde forebears—are experimental in the truest sense. He sets up a laboratory in which our social and political desires can appear, however fleetingly. Historical materials (images, sounds, and printed language) become a point of departure for making present what cannot be grasped by representations of history (narratives, archives): the emergence of events and situations, which can only become known retroactively. Recent live art has rarely been more conscious of its origins in civil disobedience and the civil rights movement, where we view the body as a site of social antagonism, and as a “case” for struggles for recognition and justice. With Pendleton’s work, even though we are often left with aporias and blind spots, we feel the force of historical matter self-organizing and finding form beyond representability and essence. We discover the protest of the object—works of art and performance resisting their subsumption by common epistemological frameworks and modes of narration posing as truth.”
(Thom Donovan, Adam Pendleton, BOMB Magazine, 1 Jan 2011)