Adam Mysock

A Surmountable Problem Writ Large

2020

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...

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...

After: Jacob Jordaens’s Odysseus in the Cave of Polyphemus, from 1635 and a NASA photograph of "Mount Sharp" on Mars Framed: 7.50h x 10.50w in As mentioned above, we have technology...

after: “La Lutte” by Émile Friant, 1889 Framed: 10h x 8.50w in As I’ve gotten older, I’ve been particularly struck by the staggering number of unintende...

"I paint the inside and outside of myself that surrounds me. I want to express everything I feel in life, such as my thoughts that are not organized, my image I want, me in relations...

Marc Chalmé was born in Lorient, a seaside town in Brittany in France. He studied at prestigious art schools in the cities of Nantes and Rennes in France. Afterwards, he studied unde...

De Es Schwertberger's captivating oil painting features several hands supporting each other while the topmost hand holds a small clutch of eggs. Artist: De Es Schwertberger (Dieter...

In this work, a solitary figures stand grounded against a stark, muted background, gazing toward something unseen—something the viewer is left to imagine. Dressed in white, the figur...