I am very pleased to be collaborating with The Redwood Tango Ensemble for the second in a four-volume series of albums. Four paintings from the Chromium Dreams exhibition at 65 Grand Gallery in Chicago will adorn the front of the 4 records. We Become The Night Sky Vol. II is released on Caverns Records.

I have a film in the this fantastic group show to benefit the rogers an rosewater soup kitchen in Oakland CA.

We were included in the exhibition "We Are Here / Here We Are" curated by Durden and Ray Gallery. Ninety-seven works have been installed all over Los Angeles County in places viewable from the street or sidewalk. Unlike other such art exhibitions — a small but growing phenomenon, since most museums and galleries closed and the migration of art to online digital platforms has proved less than satisfying — this one is not concentrated in a particular part of the city. Instead, it embraces L.A. sprawl.

Visible and Permanent
March 17—May 6, 2017

Carrie Secrist Gallery is pleased to announce the group exhibition VISIBLE AND PERMANENT.

Artists participating include:

Mariano Chavez (Chicago)
Austin Eddy (New York)
Andrew Guenther (New York)
Brook Hsu (Los Angeles)
Carmen Price (Baltimore)
Michael Robinson (Los Angeles, New York)
Brion Nuda Rosch (San Francisco)
Adam Scott (Chicago)
Jenn Smith (Chicago)

“Art as an important part of (sic) ceremonial is a conscious and determined effort to make important symbols visible and permanent.”

– Phillip H. Lewis, A Definition of Primitive Art, 1961*.

VISIBLE AND PERMANENT explores the complex relationship between the concept of civilization and it’s antecedent, so-called primitivism. The artworks presented in this exhibition bring together a group of contemporary artists who are mining the ideologies of origin while firmly entrenched in the now. Cumulatively, these visual representations are not defined by artwork that is socially oriented, political, representational or abstract – but something altogether more visible, authentic and intuitive. Individually, each artist presents his or her individual mark as a permanent gesture that traverses back in time, comments on the now and embraces the future.

Primitive art can be a loaded reference. Primitivism, as an historical paradigm, ultimately finds it’s value in what it is not: civilized. As such, for over a century, artists have mined non-civilized societies for their creative outlets either through the appropriation of forms and symbols (Picasso) or embracing a life style and becoming immersed in a simpler way of life (Gauguin). Ultimately, the implications of defining “primitive” are rooted just as firmly in creativity as it is in exploitation. Whatever the definition of civilization might be, one of the roles of the artist is to place their mark on it while simultaneously challenging it as a construct in an evolving, relentless pursuit.

Themes presented in VISIBLE AND PERMANENT include ceremonialism, evolution, mysticism and pointed strains of humor. The variety of mediums on view: painting on canvas (Jenn Smith), drawing (Austin Eddy), collage and photograpy (Michael Robinson), gouache (Carmen Price) – and the strategies for employing that media: poured paint (Adam Scott), simple motors (Brion Nuda Rosch), household rugs (Brook Hsu), UV rays (Mariano Chavez), Picasso’s signature (Andrew Guenther), reveal a complex mix of contemporaneous strategies that have endured. The ideas brought forth by the artists here, firmly rooted in 21st century ideologies intertwined as individuals and artists, take this dirty term and contextualize it as a cultural embrace – a thoroughly modern art sensibility.

VISIBLE AND PERMANENT is organized by Britton Bertran.

Contributed by Robin Dluzen / Adam Scott’s latest exhibition, "Silent Running" at Julius Caesar in Chicago, is a kind of Helen-Frankenthaler-color-field-painting-meets-Gram-Parsons-desert-pilgrimage experience. The works are arguably Scott’s most pared-down and abstract to date, devoid of all but a suggestion of the representational. The artist fills each canvas, edge-to-edge, with his signature poured acrylic. The all-over compositions undulate with the ripples of metallic paint released onto the canvas and then pulled, creating a mirage effect that conveys the artist’s stated interest in desert landscapes. Scott describes his works as "hallucinogenic" and "phantasmic," and they are, though not in the way one might expect.

mild climate is happy to announce RECORDINGS, an exhibition of new paintings from Chicago-based artist Adam Scott. RECORDINGS opens Saturday, June 4th, from 6-10pm, as part of the First Saturday Art Crawl in Wedgewood/Houston, Nashville, TN.

Silent Running:
New Paintings By Adam Scott May 13th - June 19th 2016

I have a painting in this fantastic show!

Fellow denizens of Chicago, IL, Rumback (drums, organ) and Walker (acoustic and electric guitar, piano, bells) laid down Cannots during two short sessions, a month apart, overseen by Brian J. Sulpizio. Each player’s schedule was too hectic ahead of these sessions to allow any time to discuss the direction of the record, so what you hear was wholly improvised on the spot. The results maybe recall the legendary jams of Sandy Bull and Billy Higgins, perhaps the soundtrack work of Ry Cooder, or Neil Young circa Dead Man…whatever you hear there is an undeniably magical chemistry at play.

Ryley Walker‘s already had a full year – and it’s not even March. His passport got stamped in Bosnia, Macedonia, Croatia (for the first time no less) on his Central & Eastern European tour. On his inaugural Australian tour, Walker opened for Joanna Newsom at the Sydney Opera House. While in Glasgow, Walker played two sold out Bert Jansch tribute shows alongside legends such as Robert Plant, Jacqui Mcshee, Archie Fisher, Graham Coxon and Ben Watt. Walker’s currently touring as a duo with Danny Thompson (Pentangle, Nick Drake, Talk Talk) and will open for Deer Tick once he returns stateside.



Cannots is available in limited edition, electric-blue vinyl, featuring cover art by Adam F Scott(adamscottstudio.com), and will be released by Dead Oceans on Record Store Day 2016. Full list of dates below.

ANDREW RAFACZ is pleased to announce Baudrillard’s America, an exhibition of new painting in Gallery One.

Chicago, IL, June 20, 2015– ANDREW RAFACZ continues 2015 with Baudrillard’s America, a group exhibition of new painting by Larissa Borteh, Jay Davis, Ted Gahl, Richard Galling, Andrew Holmquist, Noël Morical, Josh Reames, Adam Scott, & Wendy White. The exhibition continues through Saturday, July 25, 2015.

Addressing the ongoing, incessant argument over the end of painting at the end of meaning situated at the end of history, Baudrillard’s America presents painters working today in a variety of modes that fold dead or dying visual syntax into something uniquely reanimated. Working both as abstractionists and image-makers, these artists contend with the excess of our visual bandwidth by accepting, altering, and sublimating all of its available elements. Not content solely with a hieratic or demotic language, they instead combine and contradict without irony or hierarchy.

Exhibition OUT OF AMERICA II

SCHUSTER GALLERY BERLIN
2.12. - 05/30/2015

Showroom:

Hardenbergstr. 9

10623 Berlin

Deluxe Projects LA/CHI presents:

Pareidolia

Ryan Travis Christian
Jacob Fowler
Sam Jaffe
Brian Thomas Jones
Amy Maloof
Adam Scott
Curtis Stage
Julie Whaley

Pareidolia is essentially a fiction, a horizontal space whose edges are not immediately perceivable, and who's very presence is perceived as either a concrete fact, or a nebulous cluster of images, objects, reflections, and
projections.

The artworks in this exhibition all touch upon this strange constellation of the concrete and the fictive, the literal and metaphoric . . the possibility that the DNA strands of these specific works in particular contain the possibility of meaning while simultaneously deflecting our very human need to project meaning on everything in our visual range.

Red Pipe Gallery • Chinatown • Los Angeles
Opening • Sat Jan 10th • 5pm to 11pm

Ryan Kortman, started collecting art at the ripe age of 25, after he finished school at the School of the Arts Institute of Chicago. Since then, Kortman has moved to Los Angeles and back to Chicago, where he currently resides with his wife Jessica and a collection of over 80 works by 44 different artists, including Brian Belott, Gina Beavers, Sayre Gomez, and Adam Scott. - See more at: http://www.artnews.com/2015/01/07/collectors-corner-ryan-kortman/#sthash.edu5ecwT.dpuf

GREENPOINT TERMINAL GALLERY
67 West st. #320
Brooklyn, NY 11222
greenpointterminalgallery.com

DUCKS
October 24 – November 29, 2014
Opening reception October 24, 7–10pm
Curated by Ryan Travis Christian

I hate how you're just born out of nowhere, forced to go to school and get an education so you can get a job. What if I wanted to be a duck?

Buying Friends: The Kortman Collection

Sat, Nov 15, 2014
Sun, Feb 15, 2015

Rife with coyness and wry sensibility, Buying Friends will be the first presentation of the contemporary art collection of Ryan Kortman. Over eighty works by nationally- and internationally reknowned artists including Adam Scott, Brian Belott, and Sayre Gomez will be seen together. Within this 36-artist exhibition, elements of humor, horror, and pop culture intertwine with painting, sculpture, and mixed media. These works have such life that they have become the friends who know his closest secrets and furthest dreams.

Adam's studio takes up the majority of his rehabbed Wicker Park home's basement, stacks of paintings and carefully curated collages scattering the bright space. Addressing American paranoia through thickly poured paint, Adam warps imagery that dually seduces and repulses his audience.

"Crossings" is our metaphor for the artistic exchange and dialogue that began and continues with this international initiative between Kaohsiung, Taiwan and Chicago, U.S.A. From its inception, it was the result of my crossing the vast Pacific Ocean in 2002 for a first visit to Taiwan, previously known by its colonial Portuguese name of Formosa --- the Beautiful Island. Lying only 120 miles east of China, Taiwan today is a hybrid of natural beauty and an industrialized powerhouse, and fully functioning democracy to its roughly 25 million inhabitants. Americans may be interested to locate this island nation in the East China Sea, on the Tropic of Cancer, where the Taiwan Strait separates the island from its closest Chinese city of Hong Kong. My co-curator and colleague, Tseng Fangling, came the opposite way from Taiwan in 2004 to further our efforts in looking at recent art in Chicago, and also to contribute to a broader dialogue in Chicago on artistic developments at present in South and East Asia.

This website showcases paintings from 2001 - 2009.
Artworks shown here are from solo exhibitions with the following
galleries:

Kavi Gupta Gallery Chicago, USA
Gallery DoArt, Seoul, Korea
Galerie Schuster, Frankfurt, Berlin, Miami

I recently went to Kavi Gupta Gallery in Chicago to see Antonia Gurkovska’s first solo show with the gallery, after viewing her show I stepped into Kavi’s second gallery where a group show of his artists was installed. I made my way past a Tony Tasset sculpture, a huge Angel Otero painting, and a few Curtis Mann photos to the back room, which was full of a group of incredibly exciting, though unfamiliar paintings. It came as quite a shock to find out they belonged to Adam Scott, whose work I have been familiar with and a huge fan of. Adam has been making large, super-saturated paintings of deconstructed cartoon-y figures and scenes with a sort of implied narrative. The paintings are made by pouring paint in a controlled way to construct an recognizable image, but with a degree of slippage allowing for a wavy, tripped-out looseness to the it. The new work is much different; no cartoons, a new collage aesthetic, and a nod to a left-brained formalism not formerly prevalent in his paintings. So I decided to talk to Adam about the reinvention (after the jump)… –Josh Reames, Chicago Contributor

Paintings shown at NEXT/Art Chicago : Apr 30 – May 3, 2010
with Kavi Gutpta Gallery

Adam Scott’s vibrantly colored, supersaturated, poured paintings consider the volatile American landscape and how images from the media become embedded in our memories. His subjects are often derived from old postcards or cinematic events and then mediated by his personal remembrances and fantasies, or as Scott asserts, “his uniquely American sense of paranoia.” Dynamic swirls and folds of paint intimate a world that is constantly mutating, almost consuming itself, and also refer to the slippage between reality, imagination, and memory. For his 12 x 12 project, Scott has created a new large-scale painting about his relationship to the MCA.

Scott received his MFA from the School of the Art Institute of Chicago in 1998.

It was a good year for painting in Chicago, Adam Scott’s new body of work appropriating pop imagery and DIY poster-making techniques at the Elmhurst Art Museum

Painter Adam Scott re-contextualizes the Middle American landscape by inserting surreal cartoon characters and distorted perspectives. The artist applies paint pigment in thick coats with vibrant artificial colors, which only further intensifies the imagery. Scott’s images are often derived from elements of cinema, old postcards and personal memories and experiences. By appropriating ideas and images from a collective American consciousness, Scott is able to offer a humorous yet unsettling portrayal of contemporary American culture. Scott holds degrees in fine art from California State University at Long Beach and The School of the Art Institute of Chicago. The artist is currently represented by Kavi Gupta Gallery in Chicago and has exhibited with Galerie Schuster and Scheuermann in Berlin, Germany. In 2002, Scott completed a 12 x 12 with the Museum of Contemporary Art (MCA) in Chicago.

Vedanta Gallery has changed its name to Kavi Gupta Gallery taking on the name of its founder Kavi Gupta.


Kavi Gupta Gallery is pleased to announce an exhibition of new work by Chicago based artist Adam Scott. This will be Adam Scott's second solo exhibition with the gallery.

A block away, Adam Scott's show at Kavi Gupta Gallery (formerly Vedanta Gallery) is fresh in several ways. The first thing I noticed was the painting technique. The tiny, frozen air bubbles make the paintings look poured and masked, not painted with a brush (though a brush may very well have been used in numerous parts). The paint flows over the edge of the canvas in parts and leaves other small portions near the edges exposed. I like how they were painted - it's innovative and feels appropriate to the content, a sense of subtle impending doom arises from the saccharin palette. The balance is disarming. I was taken in by the technique and the ostensible sweetness, almost fairy tale like, before my happy little world was set off kilter by the partially hidden omens which are about to make this sweet picture really ugly.

Psychoideology: Spirituality, Politics and Identity in Search of a New Paradigm..This show had lots of surprising work–a grubby installation of life in front of the tv screen by Wyatt Nash, Pop thick-skinned paintings from Adam Scott, a sexy threatening charcoal and pastel piece by Melanie Baker, a threatening chemo-landscape from Angela Dufresne.

I recently went to Kavi Gupta Gallery in Chicago to see Antonia Gurkovska’s first solo show with the gallery, after viewing her show I stepped into Kavi’s second gallery where a group show of his artists was installed. I made my way past a Tony Tasset sculpture, a huge Angel Otero painting, and a few Curtis Mann photos to the back room, which was full of a group of incredibly exciting, though unfamiliar paintings. It came as quite a shock to find out they belonged to Adam Scott, whose work I have been familiar with and a huge fan of. Adam has been making large, super-saturated paintings of deconstructed cartoon-y figures and scenes with a sort of implied narrative. The paintings are made by pouring paint in a controlled way to construct an recognizable image, but with a degree of slippage allowing for a wavy, tripped-out looseness to the it. The new work is much different; no cartoons, a new collage aesthetic, and a nod to a left-brained formalism not formerly prevalent in his paintings. So I decided to talk to Adam about the reinvention (after the jump)… –Josh Reames, Chicago Contributor