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Adam Mysock
Having Missed the Mark with Our Grief

2020

About the Item

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 Wilkinson. He was introduced to Jonathan Ferrara Gallery as a jury winner in the 2009 No Dead Artists annual juried exhibition. In 2012, Mysock was awarded first prize “Best in Show” in the Ogden Museum’s inaugural Louisiana Contemporary Annual Juried Exhibition, exhibited for the first time at the Contemporary Arts Center in New Orleans, and concluded the year exhibiting at Pulse Miami Art Fair with Jonathan Ferrara Gallery. By 2013, his work was selected by curator Miranda Lash for inclusion in that year’s southern edition of New American Paintings, and was exhibited in a solo project booth at the VOLTA9 Art Fair in Basel, Switzerland (where he was acquired by the SØR Rusche Collection). In 2014, Mysock had a solo exhibition in the VOLTA NY Art Fair in New York. In 2016, Mysock’s work was 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. His work was also featured in EXCHANGE, an international exhibition at Galerie Jochen Hempel, Berlin. Furthermore, Mysock was recently selected as one of two recipients of the fifth Manifest Artist Residency (MAR) Award through Manifest Creative Research Gallery upon his return to his hometown.
  • Creator:
    Adam Mysock (1983, American)
  • Creation Year:
    2020
  • Dimensions:
    Height: 7 in (17.78 cm)Width: 14.25 in (36.2 cm)
  • Medium:
    Acrylic,Panel
  • Movement & Style:
    Contemporary
  • Period:
    21st Century
  • Condition:
  • Gallery Location:
    New Orleans, LA
  • Reference Number:
    1stDibs: LU10526892982