We Become The Night Sky Vol. II
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. The record can be found here:
We Are Here / Here We Are (Durden And Ray)
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.
Terraforms (Chromium Dreams)
New Paintings at 65 Grand Gallery, Chicago, IL.
May 18 - June 16 2018
Mojave Terraforms at David Richard Gallery NYC
The current exhibition of recent paintings was inspired by the artist’s experiences and explorations of Joshua Tree, Wonder Valley and the Mojave Basin in Southern California.
Terraforms at Converso NYC
Adam Scott /
Thursday May 4th / 5 to 8 pm
Through June 8
490 Greenwich Street
New York NY 10013
Peter Plagens claimed George Herms as the first REAL hippy artist(Art is Love is God)and Adam Scott is his cosmic and astrological love child.
For his first show at Converso, with metallic car paint pouring from his fingers, Scott travels to the spiritual edge of LA, the Desert, to channel the entire postwar history of California painting, post Paul McCarthy’s sodomizing, drooling seven dwarves, razor-scarred by Black Flag (Everything looks worse in black and white, but not Pettibon). Initiated as a series of drawings during his residency in Joshua Tree, CA, the large poured abstract canvases are as geologic as lava flows and evoke the concrete solidity of Jay Defeo in edible cupcake colors.
In Scott’s work, the jackrabbit Desert, LA’s metaphysical double, is theosophical and hallucinatory and Jack Parsons’ occult chanting fuels the flayed jets that hover over the canvas like visiting alien mirages. America’s post-war complexes plume out in sleek technological splendor, stretching over the whole desert like a chromo glob rainbow. Scott’s earlier cartoon paranoia and violence, celebrated by Murakami for its reliance on a Superflat high/low mash and a deracination of place derived from an analysis of the vintage American postcard, are now sublimated. We are confronted with faceless Icons of the unknown religion that we are living, a cult of Case Study and Light and Space. Jewels picked from the belly of the desert are encrusted in paint as a future technology of divination.
When Wheeler first mapped the American deserts beyond the 100th meridian in the 1870’s, the photos sent east were transformed into Stereoscopic cards, substituting image and creating place, distributed on a mass scale. Now Scott sends from this imaginary nowhere the heavy authenticity of paint and abstraction as postcards from a séance.
Essay by Michael Graham
Visible And Permanent at Carrie Secrist Gallery Chicago
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.
Essay by Britton Betran Director of Carrie Secrist Gallery
Chicago: Adam Scott at Julius Caesar
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.
Excerpt from a review by Robin Dluzen for Two Coats Of Paint
Recordings: New Paintings by Adam Scott
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 at Julius Caesar Chicago
Julius Caesar is pleased to announce "Silent Running"; a
solo show of new paintings by Adam Scott running from
May 13th - June 18th 2016
Like a mirage, the landscapes in Adam Scott’s paintings are at once beautiful and eerie, unreal as the visual ramblings of a delirious time traveler. The inherent sci-fi qualities of the work however are only a means to an end, as Scott’s aesthetic aims to undermine the illusion of his imagery. The seamlessness of these schematically depicted images enables the viewer’s expectation to be thwarted: what appears to be landscape transforms itself into unnameable forms, mutating back and forth between hallucination and reality.
These shamanistic pour paintings expunge the digital imagery once prominent in his work. Like the desert, this foray into dystopian abstraction presents the austerity of abandonment. His paintings are built on their back, constructed like sheets of concrete. Scott embraces the gravity and physical properties of paint-as-material—pure medium of image construction with little intervention.
The totemic paintings are devoid of the picturesque, yet haunt themselves with phantasmic landscapes—form following the fictitious narrative of the all too certain future. Tactile and retinal phenomena pour against his windswept architecture; visions of Astral America sweep across the canvas. Scott time travels back to now, bringing back tiny bits of data: horizontal: speculative: delirious: incarnate: flow. His glowing works are the immortal space paintings found washed up on plastic beaches— ritualized talismans for our mortgaged world.
Essay by Roland Miller, and Kate Sierzputowski from the Silent Running Show at Julius Caesar Gallery
Dead Oceans Record Label
On April 16th, Ryley Walker will release a Record Store Day full-length recorded with Charles Rumback titled, Cannots.
Cannots is available in limited edition, electric-blue vinyl, featuring cover art by Adam F Scott. The featured work is "Cave" Acrylic and Inkjet on Canvas 20" x 20" 2014.
Takashi Murakami’s Superflat Collection - From Shhaku and Rosanjin to Anselm Kiefer
"Takashi Murakami’s Superflat Collection: From Shohaku and Rosanjin to Anselm Kiefer"
January 30th - April 5th at the Yokohama Art Museum. This exhibition is composed of works from Murakami's personal art collection, culled over several years, and includes exhibits from the fields of contemporary art, Nihonga, antiques, and contemporary ceramics. The works truly cross a countless number of genres and we firmly believe that there has never been another exhibition of a single artist's collection that rises to this scale.
Solo Shows 2016
Julius Caesar Gallery, May 2016, Chicago, IL.
The Packing Plant, June 2016, Nashville, TN
Baudrillard's America at Andrew Rafacz Gallery
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.
Ryan Kortman Collection in Art News
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
Pareidolia Show At Red Pipe Gallery
Deluxe Projects LA/CHI presents:
Ryan Travis Christian
Brian Thomas Jones
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
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
Ducks / GREENPOINT TERMINAL GALLERY
GREENPOINT TERMINAL GALLERY
67 West st. #320
Brooklyn, NY 11222
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 at the UICA Grand Rapids, MI.
*Buying Friends: The Kortman Collection
at the UICA Grand Rapids, MI.*
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.
*Desert Phantoms Pop-Up show at Coagula Curatorial | Contemporary Art Gallery | Chinatown*
I will be taking part in a group show curated by Los Angeles artist Curtis Stage January 10th 2015 at Coagula Curatorial | Contemporary Art Gallery | Chinatown.
Adam Scott to participate in the Nanjing International Art Festival 2014
As a nonprofit, international meeting for artistic exchange, the “Colorful World”-themed Nanjing International Art Festival is sponsored by the related government agencies and undertaken by the Lek Yuen Group, Nanjing Fortune Invest Group Co., Ltd., along with Nanjing Brodd Cultural Investment Co., Ltd., by request.
The 1st Nanjing International Art Festival in 2014 aims to combine artists, art exhibits, masterpiece exhibits and academic forums in a comprehensive and systematic way, integrate the international artwork market operating mode with galleries, art academies, artwork investment agencies, artists, maestros, investment experts and scholars, and build an upscale art brand open to the outside world.
As the largest international art exhibition to be held by a private enterprise in China since the founding of New China, it is responsible for the implementation of the 3rd session of the 18th meeting of the CCP spirit, which aims to allow “more well-run market-oriented private enterprises to enter the cultural field to advance the cultural market operation at full speed, and promote further developments of the national culture construction”.
Collected Works Exhibition
DATE: October 8-14, 2014
ADDRESS: Nanjing International Expo Center
Art Academic Forum
DATE: October 10, 2014
ADDRESS: Jiangsu Province Art Museum
Artwork Investment Summit Forum
DATE: October 11, 2014
ADDRESS: Nanjing International Expo Center Hotel
INTERVIEW: Inside / Within : Adam Scott's Liquid Hedonism
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.
Surface Magazine July / August issue "101 Things"
"Fragment: Sampling The Modern" was voted #3 out of the top 13 shows to see this summer (2013) by Surface Magazine.
Fragment: Sampling The Modern / May 4 - August 18 2013
Fragment: Sampling the Modern, is an exhibition of new work by four Chicago-based artists Leslie Baum, Diana Guerrero-Maciá, Jessica Labatte, and Adam Scott.
Similar to the contemporary musician’s process of making new material from samples of familiar music, the artists mine and digest bits and pieces of visual culture from sources such as printed advertisements, urban debris, common pictorial symbols and the history of art. These visual samples, manipulated and placed into large-scale paintings, appliquéd textiles, paper collages, and photographs, are treated with the bold and colorful visual language reminiscent of early 20th century modernist abstraction.
With knowing reference to artistic precedents, the artists construct their own hybridized formats around these fragments of contemporary culture. The resulting work pays homage to their forerunners and contributes to new conversations about the relevance of abstraction, the meanings behind materials and signs, and, above all, compels viewers to keep looking.