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(These spell out their titles and, ultimately, ‘Black Dada’.) Though, strictly speaking, Pendleton works exclusively with what he calls ‘absolute blacks’, the different finishes, according to the artist, make up a three-colour palette in this group of black-on-black paintings.Ĭapital letters, in the sans-serif Arial font that Pendleton favours, also feature – on their own, this time and not in sets of two – in the ongoing ‘System of Display’ sequence, which is contemporaneous with ‘Black Dada’. Thus broken up, the monochrome surface is further differentiated by increasingly reflective finishes of paint: matt enamel for the ground gloss enamel for the thick diagonal lines that correspond to fragments of LeWitt’s sculptures varnished gloss enamel for the two capital letters apportioned to each work and neatly positioned around the edges of the canvas.
#SERIF VS SANS SERIF PENDLETON SERIES#
Three large and somewhat grandiloquent paintings from this series hung side by side in the first gallery, appearing monolithic though, on closer inspection, they turned out to be diptychs. Photocopied reproductions of LeWitt’s white Minimalist sculptures, blown up out of all recognition and silkscreened onto canvas, furnish Pendleton with the matter of his own ‘Black Dada’ works (2008–ongoing). Crying out to be completed, it gestures towards the ‘Incomplete Open Cube series’, begun in 1974 by Sol LeWitt, an early supporter of the young American artist’s work. The title is emphatically cropped – like many of the black silkscreen images on display, applied to canvas, mirror, Perspex or transparencies – leaving it to the viewer to supply the missing word (‘Mirror’) from the 1967 song by the Velvet Underground & Nico.
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‘I’ll Be Your’, Adam Pendleton’s first solo show in the UK, as well as his first with Pace, was all surface. The oldest manufactured mirrors to have come down to us are made of obsidian, their black surfaces polished until they became reflective.