Adam McEwen’s work resides somewhere between the celebratory and funereal. After writing obituaries for the Daily Telegraph in London, he began producing obituaries of living subjects such as Bill Clinton and Jeff Koons, highlighting the blurred line between history and fiction. In a reverse Midas-effect, McEwen has answered to the shimmering claims of Minimalist art by creating contemporary work that is freighted with the leaden melancholy of modern history. As a meditation on the many lives and deaths of art, he has created a space that conflates a beleaguered present with the afterlife of a potent and contentious moment in art history, in much the same way as his obituaries narrate the future-perfect of the rich, the famous, the beautiful, and the notorious. McEwen’s dead zone of dark relics and faded memories confronts us, literally and metaphysically, with the filthy lucre of our past and present.
Adam McEwen was born in 1965 in London, England. He received his B.A. in 1987 from Christ Church, Oxford, and then received his B.F.A. in 1991 from California Institute of the Arts, Valencia. McEwen’s work has been shown in major exhibitions around the world, including “Axis of Praxis,” Midway Contemporary Art, Minneapolis (2006); “Into Me/Out of Me,” P.S.1 Contemporary Art Center, New York (2006); “Beg, Borrow and Steal,” Rubell Family Collection, Miami (2009); “The Reach of Realism,” Museum of Contemporary Art, North Miami (2009); “Haunted: Contemporary Photography/Video/Performance,” Solomon R. Guggenheim Museum, New York (2010, traveled to Guggenheim Bilbao, Spain); “The Last Newspaper,” New Museum of Contemporary Art, New York (2010); “America Is Hard to See,” Whitney Museum of American Art, New York (2015); and “Progressive Praxis,” de la Cruz Collection Contemporary Art Space, Miami (2016). McEwen’s work was included in the 2006 Whitney Biennial. Recent solo exhibitions include The McAllister Institute, New York (2003); The Goss Michael Foundation, Dallas (2012); The Modern Institute, Glasgow (2013); Museo Civico Diocesano di Santa Maria dei Servi, Città della Piene (2015); “Tinnitus,” The Modern Institute, Glasgow (2016); and “Adam McEwen: I Think I'm in Love,” Aspen Art Museum, Colorado (2017). McEwen’s works are in the public collections of the Rubell Family Collection, Miami; Julia Stoschek Collection, Düsseldorf; The Brant Foundation Art Study Center, Greenwich; Solomon R. Guggenheim Museum, New York; Whitney Museum of American Art, New York; Aberdeen Art Gallery and Museum, Scotland; Jumex Collection, Mexico City; de la Cruz Collection, Miami; and Arts Council Collection, England.
McEwen has curated various projects and exhibitions, including “Power, Corruption and Lies,” (with Neville Wakefield; Roth Horowitz, New York, 2004); “Interstate” (Nicole Klagsbrun Gallery, New York, 2005); and “Beneath the Underdog” (with Nate Lowman; Gagosian Gallery, 2007). In 2010, he curated “Fresh Hell” at the Palais de Tokyo, Paris, as the 2010 edition of the Carte Blanche series.
McEwen currently lives and works in New York City.
January 23–March 14, 2020
Britannia Street, London
April 26–June 9, 2018
Extended through June 30, 2018
April 24–June 30, 2018
Extended through September 17, 2016
A group exhibition of text-based works
June 1–September 17, 2016
Beverly Hills 20-Year Anniversary Invitational Exhibition, 1995–2015
October 30–December 19, 2015
The Show is Over
October 15–November 30, 2013
Britannia Street, London
November 11–December 23, 2011
Homage to JG Ballard
February 11–April 1, 2010
Britannia Street, London
Thursday, March 5, 2020, 6:30pm
Gagosian, Britannia Street, London
Join Gagosian for a tour of the group exhibition American Pastoral. The show juxtaposes modern and contemporary works with historical American landscapes ranging from Albert Bierstadt’s depiction of the sublime in Sunset over the River (1877) to Edward Hopper’s tranquil seaside scene, Gloucester Harbor (1926). Gagosian’s Alice Godwin will focus on a select grouping of exhibited works that seek to challenge the idealized vision of the American Dream that has long been a rich topic of inquiry for artists in the United States. To attend the free event, RSVP to email@example.com. Space is limited.
Installation view, American Pastoral, Gagosian, Britannia Street, London, January 23–March 14, 2020. Artwork, left to right: © Theaster Gates, © Adam McEwen, Thomas Moran, © Richard Prince, © Banks Violette, © Ed Ruscha. Photo: Lucy Dawkins
Frieze Los Angeles 2020
How to Shrink L.A.
February 14–16, 2020, booth C06
Paramount Picture Studios, Los Angeles
Gagosian is pleased to participate in Frieze Los Angeles 2020. Taking Los Angeles’s system of highways as a literal and figurative backdrop, the selection includes Richard Prince’s full-scale car sculpture Untitled (2008) and Chris Burden’s ominously oversize L.A.P.D. Uniform (1993). The booth also includes work by Jean-Michel Basquiat, John Chamberlain, Urs Fischer, Theaster Gates, Piero Golia, Alex Israel, Sally Mann, Adam McEwen, Cady Noland, Sterling Ruby, Ed Ruscha, Taryn Simon, Robert Therrien, Andy Warhol, Tom Wesselmann, and others.
Chris Burden, How to Shrink L.A., 1999 © 2020 Chris Burden/Licensed by the Chris Burden Estate and Artists Rights Society (ARS), New York
Art Basel Miami Beach 2019
December 5–8, 2019, booth D7
Miami Beach Convention Center
Gagosian is pleased to participate in Art Basel Miami Beach 2019 with modern and contemporary artworks by Richard Avedon, Georg Baselitz, Jean-Michel Basquiat, Joe Bradley, Cecily Brown, John Chamberlain, John Currin, Edmund de Waal, Rachel Feinstein, Urs Fischer, Helen Frankenthaler, Ellen Gallagher, Theaster Gates, Katharina Grosse, Mark Grotjahn, Jennifer Guidi, Simon Hantaï, Damien Hirst, Alex Israel and Bret Easton Ellis, Ellsworth Kelly, Jeff Koons, Roy Lichtenstein, Man Ray, Peter Marino, Adam McEwen, Joan Mitchell, Takashi Murakami, Albert Oehlen, Steven Parrino, Pablo Picasso, Rudolf Polanszky, Richard Prince, Sterling Ruby, Ed Ruscha, Richard Serra, Rudolf Stingel, Cy Twombly, Andy Warhol, Mary Weatherford, Tom Wesselmann, Jonas Wood, Christopher Wool, and Zao Wou-Ki, among others.
Tom Wesselmann, Sunset Nude with Wesselmann Still Life, 2004 © The Estate of Tom Wesselmann/Licensed by ARS/VAGA, New York
Works from the Brant Foundation
Through September 3, 2020
Brant Foundation, New York
Bringing together more than twenty artists integral to the Brant Foundation’s collection, this exhibition offers a glimpse into the multifaceted practices of artists whose work Peter M. Brant has collected over the past fifty years. Work by Jean-Michel Basquiat, Urs Fischer, Mike Kelley, Adam McEwen, Richard Prince, Andy Warhol, and Franz West is included.
Installation view, Third Dimension: Works from the Brant Foundation, Brant Foundation, New York, November 13, 2019–September 3, 2020. Artwork, front to back: © Urs Fischer, © Dan Flavin
The Transported Man
April 29–October 22, 2017
Eli and Edythe Broad Art Museum, Michigan State University, East Lansing
The Eli and Edythe Broad Art Museum at Michigan State University is pleased to announce its debut exhibition curated by director Marc-Olivier Wahler. The Transported Man spans the entire museum and features more than fifty renowned and emerging artists whose work relies on the notion of belief. Work by Walter De Maria, Urs Fischer, and Adam McEwen is included.
Urs Fischer, Untitled, 2015. Photo by Mats Nordman
99 Cents or Less
May 19–August 6, 2017
Museum of Contemporary Art Detroit
A major group exhibition of ninety-nine artists based in the United States addresses Detroit’s ongoing economic crisis and its 2013 bankruptcy. Four years after a federal judge approved Detroit’s bankruptcy-exit plan, the city’s financial present and future are still in flux. This exhibition is a reflection on the realities of a city that was once one of the country’s wealthiest and most diverse. Work by Piero Golia, Alex Israel, Adam McEwen, Josephine Meckseper, and Sterling Ruby is included.
Sterling Ruby, 99/MK, 2017. Photo by Robert Wedemeyer
I Think I’m in Love
January 13–June 4, 2017
Aspen Art Museum, Colorado
Adam McEwen is known for works that engage viewers with a dark yet poignant sense of humor. His recent sculptural works include a life-size coffin-carrier fabricated from solid graphite and deployed air bags cast in concrete. This exhibition marks the artist’s first solo museum show in the United States. He was the Aspen Art Museum’s 2016–17 Distinguished Artist in Residence.
Photo by Tony Prikryl