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Adam Mysock
And Abraham looked toward Sodom and Gomorrah

2011

$15,000
£11,150.79
€13,053.96
CA$20,978.60
A$23,423.15
CHF 12,218.15
MX$288,022.50
NOK 154,208.32
SEK 145,181.70
DKK 97,382.59
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About the Item

full title: And Abraham looked toward Sodom and Gomorrah, and toward all the land of the plain, and beheld, and, lo, the smoke of the country went up as the smoke of a furnace After: “Fifth Plague of Egypt” by J. M. W. Turner (1800) and “Mending the Net” by Thomas Eakins (1881) Framed: 12h x 16w in In a rather straightforward way, there are three parallel stories of food scarcity presented here. The top half of the composition comes from J. M. W. Turner’s Fifth Plague of Egypt. The fifth plague was a disease on the cattle of the Egyptians. The lower half is a cropped section of Thomas Eakins Mending the Net, in which fishermen mend holes in their net. In both cases a staple of nutrition is absent. The third reference highlights a more contemporary (and trivial) understanding of food scarcity – the recurrent disappearance/reappearance of McDonald’s McRib. On the extreme left, Lincoln walks carrying a basket subtly suggesting his role as savior or provider in times of need. ABOUT THE ARTIST Adam Mysock was born in Cincinnati, Ohio in 1983 - the son of an elementary school English teacher and a lab technician who specializes in the manufacturing of pigments. On account of a steady stream of folk tales from his mother, his father's vividly dyed work clothes, and a solid Midwestern work ethic, he developed an interest in painting and drawing all things Americana from a very early age. Mysock earned a Bachelor of Fine Arts degree in Painting and Art History by 2004 from Tulane University. He then received an MFA from Southern Illinois University at Carbondale. After his studies, he became the mural coordinator for the City of Cincinnati's MuralWorks mural program and worked as an adjunct drawing professor at Sinclair Community College in Dayton. In the summer of 2008, Mysock became a Professor of Practice at Tulane University where he currently teaches and maintains a studio. Mysock's work has been exhibited in Ohio, Kentucky, Illinois, Georgia, Mississippi and Louisiana and is in private collections across the US, including those of Thomas Coleman and Michael Wilkinson. He was a 2009 jury winner in the annual No Dead Artists juried exhibition. On August 4th, 2012 he was awarded first prize “Best in Show” in the Ogden Museum’s Louisiana Contemporary Annual Juried Exhibition. Mysock exhibited at Pulse Miami Art Fair in December 2012 with Jonathan Ferrara Gallery and he was selected for the 2013 Edition of New American Paintings. Mysock was exhibited in a solo project booth at the VOLTA9 Art Fair in Basel, Switzerland where he was acquired by the SØR Rusche Collection. Mysock’s work is currently featured in a Baroque and Contemporary group exhibition from the SØR Rusche Collection, Oelde/Berlin at Kunsthalle Jesuitenkirche as well as in a solo exhibition entitled When Everything Was Wonderful Tomorrow at Galerie Andreas Binder in Munich, Germany. "I’m a revisionist history painter. Rather than rewrite the narrative of the past to justify an ideology, I repaint yesterday’s imagery in order to rationalize our present circumstances." Mysock says of his work, “Telling stories is a part of human nature; it’s how we relate to one another. The stories we have in common help us create sincere connections to our neighbors and our surroundings. What’s more, storytelling – for better or worse – typically involves hyperbole. We tend to exaggerate; we tend to lie. Generally, we believe we control our narrative embellishments. What gets exaggerated from one telling to another gets exaggerated to challenge our listeners. What gets repeated gets repeated because it resonates with them. What gets omitted gets left out because it’s lost its meaning. We actively use embellishment to keep our audiences engaged. Given enough distance, however, sources and accuracy fade out and substitutions become the new norms. Quietly, time redefines what is truth and what is fiction. As a painter, I’m preoccupied by the undeniable role that the image plays in creating this acceptance of the fictional. A painting has the authority to make the intangible concrete, and a series of them has the ability to authenticate a fabrication in our collective memory. When I begin a piece, I typically start with preexisting images, artifacts from this collective remembrance. I look for images that shape my pictorial consciousness, that are hard to question because when I first saw them they were presented as the truth. They have to capture my imagination and they have to feel largely descriptive of a greater story. From them, I’m given my task – I have to “disrepair” them. I have to consolidate an earlier world of historical and cultural visual-fact with an evolving understanding of subtlety and gradation. I find that the discrepancies I discover between the absolute and the nuanced inspire me most. The resultant work is largely about storytelling, the ownership and authorship of our culture’s visual narratives, and the parallels between those tales. It’s meant to challenge the truth of “source” and the source of truth. After all, as Franz Kafka once wrote, "It is hard to tell the truth, for although there 'is' one, it is alive and constantly changes its face."
  • Creator:
    Adam Mysock (1983, American)
  • Creation Year:
    2011
  • Dimensions:
    Height: 10 in (25.4 cm)Width: 14 in (35.56 cm)
  • Medium:
  • Movement & Style:
  • Period:
  • Condition:
  • Gallery Location:
    New Orleans, LA
  • Reference Number:
    1stDibs: LU1052758102

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A Surmountable Problem Writ Large
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After: The Young Beggar by Bartolomé Esteban Murillo (c. 1645-50) and Approaching Thunder Storm by Martin Johnson Heade (1859) The main character of this painting finds himself mired in a pond as a sizeable storm approaches, and yet – instead of standing up and removing himself from the trouble – he chooses to focus on the discomfort of his wet clothing. This child, attending to a minor nuisance rather than enacting a permanent solution, stands in as an icon of our current sociopolitical leadership – leadership which has defined our modern reality by its preference for constantly kicking the can on major issues (climate change, income inequality, various forms of discrimination, and so much more) as the rest of us are left to watch from the shore. ADAM MYSOCK was born in Cincinnati, Ohio in 1983 - the son of an elementary school English teacher and a lab technician who specialized in the manufacturing of pigments. On account of a steady stream of folk tales from his mother and his father’s vividly dyed work clothes, he developed an interest in narrative and representative painting from an early age. Mysock earned a Bachelor of Fine Arts degree in Painting and Art History in 2004 from Tulane University and an MFA from Southern Illinois University at Carbondale in 2007. After his studies, Mysock taught at the university level for nearly a decade, including as a Professor of Practice at Tulane University. In 2016, he and his family moved back to Cincinnati, where he currently serves as coordinator for Manifest Drawing Center. Mysock’s work has been exhibited throughout the country and is in private collections across the US, including the 21c Museum, Beth Rudin DeWoody, Ruslan Yusupov, Thomas Coleman and Michael...
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So Abram departed, as the LORD had spoken unto him
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And the LORD said unto Abram...
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Full title: "And the LORD said unto Abram, after that Lot was separated from him, 'Lift up now thine eyes, and look from the place where thou art northward, and southward, and eastward, and westward'" After: “In the Fields” by Eastman Johnson (1880) and “The Sacrifice of Moses” by Massimo Stanzione (1629) Framed: 12h x 17.50w in This piece is about redirection. While inserting Lincoln into Eastman Johnson’s In the Fields, it became quite apparent that emulating Johnson’s paint handling would make it quite difficult to capture a likeness. I needed to clarify Lincoln’s face in order to give him an identity. To overcome the obvious stylistic discrepancies, bizarre elements of Massimo Stanzione’s The Sacrifice of Moses were inserted to pull attention right, most specifically the pointing Moses. Baseball player Pat Burrell (of the 2010 World Series Champion San Francisco Giants...
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In Search of What Once Was
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after: Sanford Gifford's "the Desert at Assouan, Egypt" (1869) and Ilya Repin's "Procession in the Province of Kursk" (1881-1883) Framed 7h x 14w in I began this piece with the inte...
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What's Left
By Adam Mysock
Located in New Orleans, LA
after: John James Audubon's print of the Florida Cormorant With minimal effort, it’s easy to find a great deal of research about how ecosystems and habitats are being dramatically a...
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And Abram fell on his face: and God talked with him
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“Moses and the Burning Bush” by Sébastien Bourdon (1642-45) and “Evening at Medfield, Massachusetts” by George Inness (1875) Framed: 12h x 18.50w in This image begins with two allus...
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