Adam Pendleton’s ‘Love, Queen’ Reframes Protest and Abstraction
Summary
- ‘Love, Queen’ is Adam Pendleton’s first solo show in DC, featuring new paintings and a major video work.
- The exhibition blends abstraction, language and protest history.
The Hirshhorn Museum in Washington, D.C. is presenting the initial solo exhibition of artist Adam Pendleton within the city, titled Adam Pendleton: Love, Queen. This display runs until January 3, 2027 and can be seen at the museum’s second-floor galleries. It showcases new and recent paintings, as well as a large-scale video installation.
Pendleton creates artwork by combining techniques from painting, sketching, and photography. He initiates his works with ink, shapes, and text on paper, followed by photographing and superimposing them using the process of screen-printing. This method produces a striking visual style that fuses abstraction, minimalism, and conceptual art.
The showcase features several pieces by Pendleton, such as the iconic “Black Dada,” “Days,” “WE ARE NOT,” and “Composition and Movement.” These artworks usually employ just two hues against a dark backdrop, making the brushstrokes and written elements stand out.
Additionally, “Resurrection City Revisited (Who Owns Geometry Anyway?)” will make its debut. This is a video projection extending from floor to ceiling. The artwork employs historical images of Resurrection City, the 1968 protest camp associated with Martin Luther King Jr.’s Poor People’s Campaign. It merges these images with found footage and geometric patterns, creating a boundary-blurring fusion of history and abstraction. The soundtrack, composed by Hahn Rowe, features a recording of poet Amiri Baraka.
Under the guidance of Evelyn C. Hankins, with assistance from Alice Phan, the exhibition titled “Love, Queen” is presented in conjunction with our permanent display.
Hirshhorn Museum
Independence Ave SW &, 7th St SW
Washington, DC 20560
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