Dune, 2023 Acrylique sur toile / Acrylic on canvas 165 × 122 cm (65 × 48 in.)Sorry We’re Dead, 2002 Flash sur toile / flashe on canvas 73,7 x 105,4 cm. (29 x 41.5 in.)Compressed Spring#3, 2022 Acrylique sur toile Acrylic on canvas 74 × 150 cm (29 ⅛ × 59 inches). Courtesy the artist and Galerie Art : Concept, ParisVue d’exposition / Installation view Une histoire intime de l’art, Collection Lambert, Avignon, 2023Rim, 2019. Graphite, 19 5/8 x 9 7/8 x 19 5/8 in.)Noise Annoys, 2018. Inkjet print on cellulose sponge, graphite, 56 3/4 x 72 in.Phantom Limb, 2017. Inkjet print on cellulose sponge, graphite, 56 3/4 x 72 x 4 in.Installation view Adam McEwen, I Think I am in Love, Aspen Art Museum, Aspen, 2017. Photo: Tony Prikryl, Aspen Art MuseumInstallation view Adam McEwen, I Think I am in Love, Aspen Art Museum, Aspen, 2017. Photo: Tony Prikryl, Aspen Art MuseumInstallation view Adam McEwen, I Think I am in Love, Aspen Art Museum, Aspen, 2017. Photo: Tony Prikryl, Aspen Art MuseumInstallation view Adam McEwen, I Think I am in Love, Aspen Art Museum, Aspen, 2017. Photo: Tony Prikryl, Aspen Art MuseumUntitled (Tondo), 2017. Graphite mounted on aluminium , diameter: 28 inchesCold Sweat, 2017, ink jet print on cellulose sponge, graphite, 144 x 197 x 23,81 cm (56 3/4 x 77 1/2 x 9 3/8 in.). Private collectionUntitled, 2016. Inkjet print on cellulose sponge, iron pipe, 59 x 41 x 3 in. Cold Sweat, 2017, ink jet print on cellulose sponge, graphite, 144 x 197 x 23,81 cm (56 3/4 x 77 1/2 x 9 3/8 in.). Private collectionMistress and Slave, 2017. Inkjet print on cellulose sponge, graphite, 56 3/4 x 88 1/4 x 2 3/4 in.Ship (Red), 2017 impression jet d’encre sur éponge cellulose 37,3 × 50,8 cm (14 ⅝ × 20 inches). Collection privée, FranceHolland Tunnel (Yellow), 2016. Inkjet print on cellulose sponge mounted on aluminum panel, 84 x 146 in.Untitled, 2016. Inkjet print on cellulose sponge, 76 3/8 x 57 1/2 in.Marella Agnelli, 2017. Concrete, 4 3/4 x 10 3/4 x 9 1/2 in.Untitled, 2014. Inkjet print on cellulose sponge, 36 x 27 in.Untitled, 2014. Inkjet print on cellulose sponge 36 x 27 x 2 in.Franklin II, 2015. Inkjet print on cellulose sponge, 31,75 x 217 in.Adelson III, 2014 Impression jet d’encre sur éponge de cellulose 76,2 × 390 cmCollection privée, ItalieDuck, 2015. Concrete, 16 x 16 x 9,5 in. Ed 1/1frisbee #2, 2013. Graphite, 9 1/4 x 9 1/4 in. ed of 3 + 2 APInstrument, 2014. Chair, beer cans, 30 7/8 x 21 1/8 x 20 7/8 in.Conduit, 1991-2014. Chair, steel pipe, 50 1/4 x 20 1/2 x 25 in.Vestil Step Stool, 2010, graphite. Diameter 17 3/4 in, ed of 3 + 2 APTriton ATM, 2011, graphite, 152,4 x 40,64 x 63,5 cm (60 x 16 x 25 in.), ed of 3 + 2 APMinibank ATM, 2011, graphite, 162 x 44 x 56 cm (63 3/4 x 17 3/8 x 22 in.) ed of 3 + 2 APMedium Stretcher, 2011, graphite, 101,6 x 76,2 x 2,54 cm (40 x 30 x 1 in.) ed of 3 + 2 APUntitled, 2012, graphite, 256,5 x 115,6 x 36 cm (101 x 45 1/2 x 14 1/8 in.), ed of 3 + 2 AP. Sold outUntitled, 2012, graphite mounted on aluminium panel, 243,84 x 182,88 x 2,86 cm (96 x 72 x 1 1/8 in.). Private collectionUntitled, 2013, graphite on aluminum, 244 x 300 cm (96 1/8 x 118 1/8 in.). Private collectionAuction Painting, 2010. Acrylic on canvas, 14 x 17 7/8 in.Untitled, 2008. 4 lights fixtures, each holding 2 graphite 48 inch light tubes, 4 1/2 x 49 x 3 3/4 in. Installation view, Adam McEwen, The Goss-Michael Foundation, Dallas, 2012General Electric Cool White 48-inch, 2008, graphite, 122 x 3,8 cm (48 x 1 1/2 in.) ed of 8 + 4 AP Adam McEwen’s shop-window signs; SORRY WE’RE DEAD, SORRY WE’RE CLOSED, COME IN WE’RE CUNTS, FUCK OFF WE’RE CLOSED, 2000Fuck You Very Much, 2006, acrylic on canvas, 53.1 x 44.1 in.Untitled Text Msg (Gardar), 2008. Pencil on graph paper, graphite frame, 12 1/2 x 9 3/4 x 1 1/4 in.Untitled Text Msg (Bella), 2008. Pencil on graph paper, graphite frame, 12 1/2 x 9 3/4 x 1 1/4 in.Bomber Harris, 2008 acrylic and chewing gum on canvas, 162,5 x 122 cm (64 x 48 in.). Private collectionBomber Harris, 2008 acrylic and chewing gum on canvas, 162,5 x 122 cm (64 x 48 in.)Text Msg. Wall, 2008 vinyl white mat adhesive on black wall (20 pieces) 61 x 61 cm (24 x 24 in.). Private collectionDas Boot, 2007 graphite, 483 x 207 cm (190 1/8 x 81 1/2 in.). Collection Jumex, Mexico
Biography
Adam McEwen was born in London and lives and works in New York. The artist moves freely between the disciplines of painting, sculpture and installation. He is well known for his lifesized graphite sculptures of such familiar consumer objects as an ATM, a water fountain or a credit card, his Bomber Harris series – monochromatic paintings covered with chewed gums – and his prints on sponges claim both archival aspect and nostalgic imagery, creating a strange mix of historical gaze and subjective feelings. His compositions with three-dimensional objects tend to trigger a psychological unease, or to write a narrative which is uncontrolled and defined by the viewer, not unlike montage.
Collections include: the Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Rubell Family Collection, Miami ; De la Cruz Collection, Miami; The Brant Foundation Art Study Center, Greenwich; Museo Jumex, Mexico City ; Julia Stoschek Collection, Düsseldorf; Aberdeen Art Gallery and Museums, Scotland and Arts Council Collection, London.
Recent exhibitions include: XXIII, Gagosian, Rome/IT (2023), Adam McEwen, Gagosian, London/UK (2023), Execute, Gagosian, New York/US (2022); Meddle, The Modern Institute, Glasgow/UK (2019); Summer Project in Knokke, Rodolphe Janssen, Knokke-Heist/B (2019); Nighthorses, Gagosian, Beverly Hills/US (2018); Adam McEwen, Museo Civico Diocesano di Santa Maria dei Servi, Città della Pieve/IT (2015). En 2010, McEwen était commissaire de Fresh Hell au Palais de Tokyo, Paris, pour la série Carte Blanche.
Adam McEwen: I Think I’m in Love, Aspen Art Museum, 2017, 236 pagesAdam McEwen: A Real Slow Drag, Marianne Boesky Gallery, New York, 2011Sous la direction de Frédéric Grossi et Adam McEwen, Fresh Hell / Carte Blanche, PALAIS Magazine N 13 : Fresh Hell / Carte blanche à Adam McEwen au Palais de Tokyo, Paris, 2010
