Adam Mysock

Having Found the Lowest Threshold (St. George Slaying the Dragon)

2013

“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...

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...

After: The Death of Seneca by Manuel Domínguez Sánchez (1871) and Eaton's Neck, Long Island by John Frederick Kensett (1872) Painted as a response to the ongoing conversations about race and policing in the United States in 2020, Having Missed the Mark with Our Grief focuses on the problem of the “But what about…” conversations that too often accompany discussions about systemic racism and discrimination. From the nonsensical All Lives Matter crowd to the virtue-signaling of more well-meaning, empathetic groups, people outside of BIPOC communities too frequently seem ready to misdirect valuable attention away from meaningful change toward their own unthreatened subcultures. Having Missed the Mark with Our Grief presents a mourning white male pulled from The Death of Seneca hovering above the shore of Eaton’s Neck, far from an “X” drawn in the sand. The setting is simple and uncomplicated beyond the target on its shore. However, the forlorn figure draws the spotlight away from the marked terrain toward his dramatic presentation of suffering. 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...

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...

Oil paint, pastel and charcoal on paper Signed and dated by the artist

"For Jose Ignacio Suarez an abyss of time and space distances him from those who were the first inhabitants of the Brazilian coasts and of this vast American continent. His initial l...

Work on wood Direct from the artist's studio

Oil, acrylic, and mixed media on canvas