The Futurists: Adam Pendleton and Yana Peel

Summary

CHANEL Connects: The Futurists with Adam Pendleton and Yana Peel – Episode Summary

Release Date: August 12, 2025

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Introduction

In the fifth season of CHANEL Connects, host Yana Peel engages in a profound conversation with acclaimed artist Adam Pendleton. Set against the evocative backdrop of La Pausa, Gabrielle Chanel’s meticulously restored Mediterranean villa on the French Riviera, this episode delves into Pendleton's artistic journey, his conceptual frameworks, and his collaborative endeavors that bridge past and future creative expressions.

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Celebrating "Love Queen" at the Hirshhorn Museum

The episode kicks off with Yana Peel congratulating Pendleton on his exhibition Love Queen at the Hirshhorn Museum. Pendleton elaborates on the exhibition's focus, highlighting its exploration of his core work in painting:

“Love Queen is an exhibition that's very much so focused on the core of my work, which is painting. It includes paintings from five different bodies of work, some of which I've been working on at this point for almost 20 years” (01:06).

Pendleton emphasizes the transformative nature of his work over time and its dialogue with the museum's 50th anniversary celebration alongside the Revolutions exhibition.

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The Genesis and Evolution of Black Dada

A significant portion of the discussion centers on Pendleton’s Black Dada manifesto, introduced in 2008. Peel probes into its origins and its relationship with the avant-garde, prompting Pendleton to share the manifesto's foundational intent:

“Black Dada… attempts to break down what those kinds of assumptions around blackness are or could or would be. It's not about black artists or writers. It's actually about creating a much more capacious space that is more invested in ideas of difference and dissonance” (04:17).

Pendleton clarifies that Black Dada is a conceptual and visual project aimed at redefining perceptions of blackness, fostering a space rich in diversity and complexity.

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The Power of Abstraction in Art

Transitioning to the theme of abstraction, Pendleton articulates its role as a multifaceted technology that enhances humanistic potential:

“Abstraction… is a visual technology that expands the ways in which I perceive and also move through the world. It allows me to create context, create poetic experience and potential, and also to shape time and space.” (08:50).

He underscores abstraction's capacity to concretely express nuanced ideas, making it a pivotal element in his artistic expression.

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Homecoming and Personal Reflections

Peel shifts the conversation to a more personal note, inquiring about Pendleton’s return to Virginia and the sense of homecoming associated with exhibiting his work at the Hirshhorn:

“It did feel like a homecoming of a certain kind.” (06:39).

Pendleton reminisces about his childhood visits to the National Mall and his lifelong connection to the Hirshhorn's impressive collection, highlighting the honor of being part of its 50th-anniversary celebrations.

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Forging Collaborative Relationships

A notable highlight of the episode is Pendleton's recounting of his interactions with influential figures like Rosalie Goldberg and Joan Jonas. He narrates how Goldberg recognized his potential and facilitated his entry into performance art, leading to significant collaborations:

“Rosalie was doing these incredible commissions with artists who in many instances, have never done a live work before… and she kept saying I wanted to do something together.” (18:14).

Similarly, his meeting with Joan Jonas sparked a long-lasting partnership that seamlessly blends their creative endeavors.

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Preserving Nina Simone's Legacy

In what stands out as a profound culmination of the conversation, Pendleton discusses his role in preserving Nina Simone’s childhood home. This initiative, undertaken with fellow artists and the National Trust, exemplifies the episode’s overarching theme of building the future from historical fragments:

“With the National Trust we have, the site became designated a national treasure… and we raised $5 million to endow the home.” (25:31).

Pendleton reflects on the decade-long effort to restore and safeguard the home, ensuring that Simone’s legacy inspires future generations.

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Looking Ahead: Future Projects and Vision

Concluding the episode, Pendleton shares his ongoing commitment to exploring the intersections of painting and blackness through his forthcoming book, Black Painting. He envisions the book as a deep dive into the conceptual possibilities of blackness in relation to painting, spanning a century of artistic history.

“Black Painting… will be about the relationship between painting and the capacious possibility of blackness as a concept, as an idea.” (28:49).

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Closing Remarks

Yana Peel wraps up the conversation by acknowledging Pendleton's relentless pursuit of innovation and his role in shaping contemporary art. She invites listeners to explore more episodes of CHANEL Connects, celebrating its rich archive of dialogues with visionaries across various creative fields.

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Notable Quotes with Timestamps

• “Love Queen… the most recent examples from said body of work.” – Adam Pendleton 01:06
• “Black Dada… creating a much more capacious space that is more invested in ideas of difference and dissonance.” – Adam Pendleton 04:17
• “Abstraction… is a visual technology that expands the ways in which I perceive and also move through the world.” – Adam Pendleton 08:50
• “It did feel like a homecoming of a certain kind.” – Adam Pendleton 06:39
• “With the National Trust we have, the site became designated a national treasure.” – Adam Pendleton 25:31
• “Black Painting… will be about the relationship between painting and the capacious possibility of blackness as a concept, as an idea.” – Adam Pendleton 28:49

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Conclusion

This episode of CHANEL Connects offers an intimate glimpse into Adam Pendleton's artistic philosophy, his dedication to preserving cultural legacies, and his visionary approach to collaboration. Through rich dialogue and thoughtful reflections, Pendleton illuminates the pathways through which art can shape and redefine our understanding of identity, history, and future possibilities.

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*For more insightful conversations, listen to CHANEL Connects on Spotify, YouTube Music, or Apple Podcasts.

Transcript

[Adam Pendleton]

Hello.

[Jana Peel]

Hi, Adam.

[Adam Pendleton]

Hi. Nice to meet you. So great to meet you as well.

[Jana Peel]

Welcome to Chanel Connects. I'm Jana Peel, president of arts, culture, and Heritage.

At the house.

For season five, we journey to La Pausa, Gabrielle Chanel's villa on the French Riviera. We'll hear artists and innovators discuss the future of creativity and the innate curiosity.

That powers their work.

In this episode, I had the pleasure of connecting with acclaimed artist Adam Pendleton and in Gabrielle Chanel's grand salon.

Adam, this is so incredibly exciting because I have had the thrill of seeing Love Queen at the Horshorn, and so this could be no more apt moment than to be sitting here with you just several weeks after that momentous exhibition opened. Congratulations.

[Adam Pendleton]

Thank you so much. Thank you.

[Jana Peel]

I would love for you, if you can, to describe in terms of how that beautiful round structure embodies those decades of composition.

[Adam Pendleton]

So Love Queen is an exhibition that's very much so focused on the core of my work, which is painting. And it includes paintings from five different bodies of work, some of which I've been working on at this point for almost 20 years. So there aren't paintings from 20 years ago, but there are the most recent examples from said body of work. For example, the Black Dada paintings, which I started making in 2008, 2009. So a lot of what's happening in the Hirshhorn is an opportunity for the audience and, of course, for me as an artist to look at how the art of a particular idea transforms over time, which is a very deep interest of mine.

[Jana Peel]

I'd love to touch on the theory of black data, as you mentioned, 2008. Such an early stage in your career to throw down a manifesto.

[Adam Pendleton]

Yes.

[Jana Peel]

And I'd love for you to share what that manifesto was, particularly how it relates to the avant garde, given where we are today.

[Adam Pendleton]

Yes. So when I was in my twenties, I moved myself to a very small town in upstate New York, because I realized that in New York, it was very hard to focus on making art exclusively. There were openings, dinners. There's always something to do. And I wanted to claim my time back. So I moved to a little town called Germantown. And then while I was up there, I had this sensation that I was a little bit isolated, obviously, like, literally isolated, and also, you know, physically isolated. And I wanted a way to contribute. And I decided that the best way to do that was to come up with an operating position or a concept or an idea that would allow me to be present in conversations about painting, about art. Making. And I came up with this concept of Black Dada, and I kind of, like, threw it back to the city. And at that time, when I would talk about it, I would say that it was a way to talk about the future while also talking about the past. Over time, Black Dada has become a theoretical conceptual, but I think at its core, it's a visual project. And that very central idea that preoccupies me all of the time is that if you have an idea, if you're trying to represent it in the world, what tools do you have at your disposal? And so, in regards to Black Dada, I decided that painting was at my disposal. But I haven't answered your question. What does Black Dada have? I only talked about.

[Jana Peel]

Yeah, absolutely, because I think you pointed to a way of activating history to define the future, the conceptualism in the avant garde, and rooting yourself in a particular canon of blackness as well, while looking forward.

[Adam Pendleton]

Well, so that's something that really gets confused because I think people think it's about a kind of perception or understanding of, quote, blackness. And it actually attempts to break down what those kinds of assumptions around blackness are or could or would be. It's not about black artists or writers. It's actually about creating a much more capacious space that is more invested in ideas of difference and dissonance.

[Jana Peel]

I love that. And it's such an opening to things we'll discuss in terms of the collaborators that you have also so generously brought into your world. Tell us about the words and what the titles mean to you and how that features and has an impact on how the viewer or the audience engages.

[Adam Pendleton]

So I, from the onset, want to create the dynamic where the viewer is asked to slow down and pay attention. And so, love Queen, Love comma, Queen. You kind of wonder, well, what does that. What does that mean? You know? And later, I realized that creating these moments where people stumble and search for meaning is actually about creating intimacy, or the possibility of intimacy. And love, of course, is this big, open idea that we all relate to in different ways, but we don't quite know at any given moment what it means. And so it's immediately creating this sense of awareness. But again, this kind of absence of the limits of this is this means this.

[Jana Peel]

I love how you touch on that intimacy of the place. And as we're here in a series talking about the home, I wonder if I can get a little bit more personal and ask you about whether coming back to Virginia, coming back to dc, to the mall, felt to some extent Like a homecoming of sorts, or how did it feel to be showing this work?

[Adam Pendleton]

It did feel like a homecoming of a certain kind.

[Jana Peel]

Homecoming queen.

[Adam Pendleton]

Some might say. You know, I grew up two hours from dc, so I remember going to countless times going to the National Mall to see Joe Hirshhorn's collection, which is one of the best collections of modern and contemporary art. And what's really great about showing at the Hirshhorn at this particular moment is that it's the museum's 50th anniversary, and love Queen is one of the anchor exhibitions for their celebration of that milestone. And alongside Love Queen is an exhibition called Revolutions, which looks at 100 years of art, 1860 to 1960.

[Jana Peel]

Beautiful exhibition.

[Adam Pendleton]

Fantastic exhibition. Fantastic.

[Jana Peel]

Great curation and selection of keywords.

[Adam Pendleton]

Right. I mean, it starts with the work by Brancusi from 1922, Torso of a Young Boy or of a Young man, which is totally abstract. Right. It's, you know, these kind of geometries of, you know, there's a square, there's a circle. You know, it implies a torso, but it doesn't really look like a torso, but it also looks like it's from the future. So it's been particularly rewarding to be in dialogue with such important works that have, you know, stood the test of time. And there are so many painters in that exhibition that I admire, from Joan Michael Mitchell to Hans Hoffman to Lee Krasner. So it's just a very rich moment to be showing at the Hirshhorn on the National Mall in dc, for sure.

[Jana Peel]

It's so interesting how you talk about the references to abstraction that's such an important part of your work. What is it about abstraction that enables you to express your ideas so concretely and so firmly?

[Adam Pendleton]

So abstraction, I think, speaks to the full breadth of our humanistic potential in a profoundly unique way. There are ways in which it's really a technology, actually. I would say abstraction is a visual technology, but it's also a theoretical technology. It's a way for us to expand our human humanistic potential to see things and to think otherwise. And I like to think of painting as a kind of technology, a visual technology that expands the ways in which I perceive and also move through the world. It allows me to create context, create poetic experience and potential, and also to shape time and space. All of this all at once. All of this is happening at once.

[Jana Peel]

Everything everywhere, all at once. Everything. Future is here, not evenly distributed.

[Adam Pendleton]

Yeah, exactly. And what else allows one to do that?

[Jana Peel]

Coming back to what you said about Abstraction as an incredible technology and also your real interest in slowing things down. I feel for those who get to engage with your work. We're really excited. We are just on the cusp of opening a center for artists and technology at CalArts.

[Adam Pendleton]

Yes, I read it.

[Jana Peel]

I'm really excited about that.

[Adam Pendleton]

Congratulations.

[Jana Peel]

Thank you so much. And in that process, it's just the beginning of a journey and figuring out what it is that is demanded by artists to ensure that they continue to have freedom of creation and authorship of their work. So I'd love to just ask you about what technology could mean for you in the future.

[Adam Pendleton]

So artists always use the latest technology, I feel, to make their work. And if the technology or technologies that they need don't exist, they create their own. And so I'm particularly thinking right now about Jack Whitten's developer, for example, this giant tool or squeegee that he used to literally blur the surface of his paintings. I'm thinking about Duchamp, for example, who created the technology of the ready made, which completely changed, you know, what art would become in the 20th century and has deep and profound influence in our current moment. I use technology and my work as well. I think if we go back to Jack Whitten and Duchamp, I think in a strange way, this technology is invisible.

[Jana Peel]

You know, A.C. clark said that any advanced technology is actually indistinguishable from magic. So that has a real resonance when I hear you say that.

[Adam Pendleton]

Yeah, it is. It's a kind of magic. I was speaking to someone recently, and they said, oh, how is, you know, AI going to change your work? But I would argue that art as a technology is past AI.

[Jana Peel]

It's kind of technology is catching up.

[Adam Pendleton]

Yes. Technology is what the artist's ambitions want to. Technology is actually catching up with art, not the other way around.

[Jana Peel]

I love that idea of putting technology in service to your ambitions and the idea of the human at the center, which is really this renaissance ideal we've talked about. The homecoming. And if I may, I'd love to go back to the home, leaving. And to think about leaving Virginia at such a young age and wondering what propelled you in search of this endeavor, this ambition, these ideas.

[Adam Pendleton]

So I finished high school two years early, and I. So I was 16. 16. I was 16 years old. And I. At that time, I actually considered myself a professional artist.

[Jana Peel]

Right, because you had three or four years of art making or a lifetime before.

[Adam Pendleton]

Yes, I had. So When I was 14, 15, I was spending, at minimum, I would say, five to eight hours a day painting in my parents basement.

[Jana Peel]

Did you have artists in the family? Were you in a community of creative people?

[Adam Pendleton]

I, you know, I was a passionate consumer of information, books, magazines. But it was one magazine in particular that I would credit for changing my life called Art in America. Absolutely right. Aptly called Art in America. And that magazine and looking at, you know, art ads actually haven't changed in the past, I don't know, 20, 30 years. So it's somebody's name, Richard Serra. An image of the artist's work show coming up. Yeah. In the address of the gallery. Very oblique or opaque if you're not a part of that word. You're like, what the hell? Who is Richard Serra?

[Rosalie Goldberg]

What is this weird structure sculpture in this address?

[Adam Pendleton]

And I had to make sense of it. So I would look at these magazines, memorize the names, look up the names, look up the galleries. And I actually started making trips to New York, independent trips to New York, when I was 14 or 15 to go see these things, to like bring, bring this, these visual realities to life. Like I wanted to see the Richard's hair. I wanted to see Franz West, Barbara Kruger, Saul Lewitt. And it was sort of at the same time as I was making these trips to New York, I started painting myself. And then after I finished high school early, my parents were like, well, now what are you gonna do? You're 16 years old.

[Jana Peel]

You know, you said, I'm going to Pietro Sante.

[Adam Pendleton]

Exactly.

[Rosalie Goldberg]

I said, I'm going to Northern Italy, of course, and I'm gonna study art.

[Jana Peel]

Of course.

[Adam Pendleton]

Well, yeah, yeah. And so I went to Northern Italy to study art, actually very traditional marble sculpting. So I had these giant, you know, piece of marble and hammer and chisel, and was terrible at it. Absolutely terrible. And you know, this is an encounter that I still remember when the instructor pulled me aside and she said to me, you're absolutely an artist. And, but not this kind.

[Jana Peel]

So not. No, David.

[Adam Pendleton]

Yes.

[Jana Peel]

Not Michelangelo exactly. Okay.

[Adam Pendleton]

Yes.

[Jana Peel]

And that was pretty affirming. 16, 17, 18.

[Adam Pendleton]

You know, it was the first time someone claimed that space for me, you know, And I shared with this instructor pictures of the paintings that I had been making in my parents basement. And she said, that's it, that's what you're going to do.

[Jana Peel]

Did you ever envision in that moment in northern Italy, age 16, 17, that you would have that exhibition at MoMA that was so defining, that would then see a record 35 of your works brought in to the collection?

[Adam Pendleton]

Yes and no. So when you're that age, of course, you remember.

[Jana Peel]

Hell, yeah.

[Adam Pendleton]

You think everything and anything is possible. But in the same way, everything and anything also feels just out of reach. Always out of reach. And I knew what I was committed to. I knew that I had the capacity, the imaginative capacity to. To contribute ideas, paintings, concepts of importance that could disrupt and reinterpret and reconfigure our understanding of art and life and the ways in which we experience it.

[Jana Peel]

To pick up on that. There's someone else who thought your potential was limitless when they met you in 2007. And I spoke to her last night, and I said, rosalie, I'm going to interview Adam Pendleton. And what was it in 2007 when you saw him standing in front of his pastel poetry that made you realize he was someone who urgently needed to feature in your most celebrated performance arts festival in the world? Can you take us back to 2007 and that interaction with Rosalie Goldberg which she so beautifully spoke about?

[Adam Pendleton]

Yeah, so Rosalie met me probably in 2004 or five, I think it was either. I'd have to do the quick math. I was probably 20.

[Jana Peel]

Oh, wait, wait, wait.

[Adam Pendleton]

19. But I lied to her.

[Jana Peel]

You lied to her? That's what I wanted to get at. Because you told her you were.

[Adam Pendleton]

I think I told her I was 23 or 4.

[Jana Peel]

You told her you were 26.

[Rosalie Goldberg]

Oh, did I?

[Jana Peel]

And she didn't care. But she thought that.

[Rosalie Goldberg]

Because I said to myself, no one's gonna take 19, 20, even a 21 year old. Cause I remember you would read articles about artists, and it would say, the young artists. And then I'd look up how old they were. They were like 35.

[Jana Peel]

Right.

[Rosalie Goldberg]

I was like, so if that's young.

[Jana Peel]

What about, you know, you are Joan Jonas oldest friend. So that was interesting. I love this play of age. But do tell. So you were this young artist.

[Adam Pendleton]

Yes. And, you know, Rosalie was doing. Was and is doing these incredible commissions with artists who in many instances, have never done a live work before. And she saw me. So my first art dealer was the French dealer. Here we are in France. Yvonne Lambert, the legendary. Yeah. And I had my show of paintings at his gallery. And I also did, like, a lie, A poetry. A live poetry reading in front of those paintings. And Rosalie happened to be there, and she said, hey, have you ever thought about doing a live work? And we actually just started spending a lot of time together. I don't know if she recounted this to you, but joyfully, we would just sort of hang out together, go to openings and talk and she would keep saying I wanted to do something together. And then she would infer that I wasn't ready. And there's no way. The best way to get me to do something is to tell me I'm not ready. Then I'm like, I'll show you I'm ready. And so I very much so got into that mode with Rosalie when she was like, okay, fine. If you're ready, do something, perform a 07. And for that, I did the revival, which at that time was the largest, most ambitious work that I had.

[Jana Peel]

And then you have people like Joan Jonas enter your life. Can you tell me about how some of those relationships were forged beyond that performa moment?

[Adam Pendleton]

Yeah. So Joan and I met on a.

[Jana Peel]

Couch just like this one.

[Adam Pendleton]

Just like. Just like this. She.

[Jana Peel]

Where was it? Where was the couch?

[Adam Pendleton]

We were in New York. So she was also represented at that time by Yvonne Lambert. And I went into the gallery on a Saturday, and she was there. And in her very Joan Jonas way, she said, hi, I'm Joan Jonas. And I said, hi, little Joan Jonas. Looks huge presence with huge presence. Exactly.

[Jana Peel]

Gravitas.

[Adam Pendleton]

And I said, you know, I'm Adam Pendleton. She's like, what do you do? You know, who are you? And I think a work of mine was up in the back room. And I said, oh, that's my painting. And she said, oh, I like that. That's nice. And she said, you know, I'm working on a performance for. And this was a performance, a commission she had just been commissioned to do for DIA at Beacon. And she said, and I need a musician. Do you know any? And I said, yeah, I think I know someone who you could or should work with. And I said, Jason Moran.

[Jana Peel]

Oh, Jason Moran. Yeah, we love Jason Moran. What a brilliant choice.

[Adam Pendleton]

Yeah. And I actually did not know Jason, but I had been listening to his music for several years at that point. And she said, oh, you know, who is he? And I said, oh, he's a jazz musician, but he's really reinventing the form. And coincidentally, we looked him up, and he was actually performing that literally that night or the next night at Jazz at Lincoln Center.

[Jana Peel]

So serendipity.

[Adam Pendleton]

Serendipity. We got tickets. Joan and I went together. She loved it. And I think that next day or that within that next week, she reached out to Jason and said, I want to work with you. And they've been working together for over 20 years. And that was like a beginning of a community of people. And we continue to be in touch and work together to this Day.

[Jana Peel]

That's so amazing. That spirit of collaboration really feels like it's something that has defined your work. I know you're also curating a show of Joan's, if I'm not mistaken, in Japan.

[Adam Pendleton]

Yes.

[Jana Peel]

Is that right?

[Adam Pendleton]

I am.

[Jana Peel]

How does that feel, the curator role?

[Adam Pendleton]

You know, with Joan, it feels very organic. We've, from the moment we met, we've had a very, I would say, both intense and easy relationship. So curating, working, collaborating with Joan is something that's very fluid for me. And I really, you know, Joan is one of the best drawers. Of course, I remember that Venice Biennale in the world. And I wanted to take her drawings outside of the context of installation and performance, which is where they usually reside, and really treat them almost in a more classical manner, where you're asked to focus on not the kind of totality of the experience, but each individual works line, color, surface. And so that's what this show and Tokyo will do.

[Jana Peel]

So, Adam, I'd love to conclude by bringing this home on the topic of this series. I believe there's a home that you're currently very involved with at the moment, which is a very generous way of creating a future from fragments of the past. So maybe you can tell us a little bit about the home of Nina Simone.

[Adam Pendleton]

I love that. Creating the future from fragments of the past. So I believe it was in about 2016, through Laura Hoffman, I got word that Nina Simone's childhood home was on the market for sale. And, of course, anyone could buy it. Right. It wasn't as though it had to be bought by someone who was going to protect and preserve this historic site. And I had this real kind of urge, like, I have to do something. And I first started looking for somebody who was going to, you know, purchase the home and preserve and protect it. So I kept thinking, who is this person? And. And then I realized, yes, I realized.

[Rosalie Goldberg]

That the person was me.

[Jana Peel]

Right. With little help from my friends.

[Adam Pendleton]

Yes, yes.

[Rosalie Goldberg]

And so I reached out to Rasheed.

[Adam Pendleton]

Johnson, and I talked to my friend Adrienne Edwards and said, you know, to her, who else do you think might want to be involved in this? And she mentioned Julie Mehretu and Ellen Gallagher and. And reached out to both of them. So there was a symbolic element to this. Four artists joining forces to preserve and protect the home of one of the most important artists, vocalists of the 20th century. So we bought her childhood home, and we ended up forming a partnership with the National Trust in Brent Legs, which was transformative, because that is what they do. They save Places. So we have been now for. Oh, my goodness, it's 10 years, isn't it? Oh, my goodness. That's crazy. I just literally realized in this moment, this has been 10 years worth of work. So with the National Trust we have, the site became designated a national treasure, for one. Yes. That was like the first big milestone. And another big milestone that was also about artists gathering, getting together. Martin Puryear, Cecily Brown, Mary Weatherford, Stanley Whitney, Robert Longo. Me, Rashid, Julie. I hope I'm not Sarah Z. Please forgive me if I'm missing anyone. We did a benefit auction in New York where these artists so generatively gifted works of theirs to raise funds for the house. And Venus Williams gave us some star power. Thank you, Venus. And we raised $5 million to. Yes, right. To endow the home. And literally, I think it was about two weeks ago, I received pictures from the National Trust that the house has been almost completely restored. They're starting landscaping on the grounds. And now, for, you know, at least as long as I'm alive, the place where Nina Simone was born and literally began to play piano will be preserved and protected.

[Jana Peel]

It's extraordinary to be in this room with the piano behind us on which Stravinsky and Misia Sert played, with these carpets that were rolled up so people could dance in the twenties in an era. And it's actually really remarkable, that idea of thinking about preserving someone's home to build future possibilities. It reminds me of that proverb, if you want to go fast, go alone. If you want to go far, go together. So congratulations. That's an incredible manifestation. I'm going to leave you with one question, which I love to ask, because Gabrielle Chanel always wanted to be part of what was next. Javert de secu va arrive was her motto in terms of thinking of that avant garde and really being at the edge of and the foreground. What's next for Adam Pendleton?

[Adam Pendleton]

I'm working on another book.

[Jana Peel]

Oh, you are?

[Adam Pendleton]

Yes. So I have published a number of books that have been really important to my work and the perception of my work, but also of other artists. One in particular I could name is the Black Dada Reader. And I am writing a book called Black Painting, which will not be about black painters, but will be about the relationship between painting and the capacious possibility of blackness as a concept, as an idea, and will include both artists who are with us and artists who are no longer with us across, I would say, about a hundred years, span of time, of history.

[Jana Peel]

It's been an honor and a pleasure.

[Adam Pendleton]

Thank you so much, Adam.

[Jana Peel]

Thank you so much, Adam.

[Adam Pendleton]

It's such a pleasure. Such a pleasure. Thank you.

[Jana Peel]

Thank you for joining us for the latest season of Chanel Connects. Now in our fifth year, there is an incredible archive of episodes to listen to, featuring guests like actor Margaret Qualley, artist Julien Crouzet, and musicians Grimes and G Dragon. So do make sure to listen in. This is Chanel Connects, available to listen on Spotify, YouTube Music and Apple Podcasts. Until next time, stay connected.