Adam Mysock

after: Hans Memling's "The Last Judgment" triptych (c. late 1460's), Bambi's mother from Disney's "Bambi" (1942) acrylic on panel, mounted on a J.P. Sau...

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 pigm...

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 pigm...

From Jan Matejko’s Stańczyk, 1862 I’ve heard that in centuries past, the jester – or fool – was often one of the only people able to speak truth to power. Because of their inherent ...

after: Joseph Shuster’s Action Comics #1 Cover (1938) and #19 Burning Flesh from Wally Wood’s, Bob Powell’s, and Norm Saunders’ Mars Attacks trading cards (1962) Framed: 9h x 9w in Continuing the exploration of Superman’s role as extraterrestrial anomaly – an alien who’s also a friend, I spent time considering how important one’s actions (on a singular occasion, in sum, alone, in collaboration with others, etc.) are in determining overall “goodness” or social value. In literally his first exposure to any reader, on the cover of Action Comics #1, Superman is shown smashing a large car against a rock, while three well-dressed men run away in fear. Taken by itself the image presents a deranged, super-strong vandal. It’s only upon reading the full narrative that we understand Superman’s action to be part of a rescue mission and the men to be gangster villains. When we allow Superman to be considered as an individual, responsible for his own actions, and over a series of events, rather than one incident, we find our hero. But when I offer Superman another alien (this one up to no good), and deny any exposure to a fuller understanding of circumstance, it’s much more difficult to separate Superman’s destructive actions from those of his new companion. Better Alone Than in Bad Company...

full title: "And, lo, three men stood by Abraham: and when he saw [them], he ran to meet them from the tent door, and bowed himself toward the ground" After: “Punishment of Korah” by Domenico Beccafumi (1537) and “The Banjo Player” by William Sydney Mount (1855) Framed: 6.90h x 8.10w in This image really began with my knowledge of the American artist of the source painting – William Sydney Mount. While Mount is acknowledged as one of the first painters to present African- Americans in a positive light, his beliefs about slavery were at odds with Abraham Lincoln’s. In response, he seems to have wrestled with the good and evil aspects of his beliefs. The imagery of Moses on his knees (from Domenico Beccafumi’s Punishment of Korah, Dathan and Abiram) comes from a similar narrative about a struggle between good and evil. In it, Moses’ divine connections were challenged by tribal leaders and as a result the earth split open and swallowed the malicious contenders, leaving only the good. William Sydney Mount’s painting of The Banjo Player serves as a stage that hints at both something positive (the musical reference) and something negative (figures emerging on their knees, as if being released from captivity.) The musical poster...

after: "Twlight in the Wilderness" by Frederic Edwin Church, 1860 Framed: 3.50h x 3.50w in ABOUT THE ARTIST Adam Mysock was born in Cincinnati, Ohio in 1983 - the son of an element...

After: Jan Veth’s “Portrait of Cornelia, Clara, and Johanna Veth” from 1885. ADAM MYSOCK was born in Cincinnati, Ohio in 1983 - the son of an elementary school English teacher and a...