Adam Mysock
Where the Snow in Snow Globes Came From
2016

Name: Where the Snow in Snow Globes Came From
Brand: Adam Mysock
Price: 11864.97 CHF
Availability: InStock
Rating: 5 (36 reviews)

$14,300

£11,000.51

€12,768.47

CA$20,166.41

A$22,589.78

CHF 11,864.97

MX$274,684.41

NOK 150,249.22

SEK 142,626.91

DKK 95,296.01

About the Item

after: View from Mount Holyoke, Northampton, MA, after a Thunderstorm - The Oxbow (1836) by Thomas Cole Framed: 6h x 7.80w in Looking back at the work of Thomas Cole and his contemporaries, it’s believable that the landscape was once something to be valued simply for being awe inspiring. Today, it increasingly seems like nature – as a pure, experiential concept – cannot exist. It’s not profitable if left untouched. Because we can always reap something from a raw landscape, it must be sold off in pieces to anyone with enough wealth. It’s that simple. Regardless of how absurd or damaging the plunder. In a futile attempt to preserve Cole’s Oxbow from such prospectors, I’ve offered it a cover of sorts. If this area can be seen as an already-tapped resource, can become the source of the world’s snow globe snow, then perhaps speculators will move on. Perhaps those that mean the landscape harm for personal profit might leave it be if they can believe that someone else has already plundered it. 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." statement "I’ve always admired snow scenes from the Northern Renaissance in which tiny dots of snow were applied directly onto the surface of an otherwise completed painting. The bravado it must have taken to believe that additional points of white pigment would improve rather than detract has always been awe-inspiring to me. Both Where the Snow in Snow Globes Came From and On a Snowy Night began with a desire to flirt with that fine line between the betterment and ruination of a finished painting. In each, I worked to reproduce art-historical imagery that I’ve always admired, as faithfully as possible. From there, I set out to see how far my comfort zone could be pushed. By adding small pieces of snow globe snow, my desire was to highlight the artificiality of my additions. The resulting accumulations demand consideration of the ways we interact with our landscapes—claiming ownership of things much larger than ourselves, imagining ourselves to be superior to our surroundings—and the ways the we’re unnaturally altering the climate of those environments."

Creator:
Adam Mysock (1983, American)
Creation Year:
2016
Dimensions:
Height: 3.8 in (9.66 cm)Width: 5.7 in (14.48 cm)
Medium:
Acrylic,Panel
Movement & Style:
Contemporary
Period:
21st Century
Condition:
Gallery Location:
New Orleans, LA
Reference Number:
1stDibs: LU10521057943