Preemptive Drawing and Small Sculpture Sale!

Announcing the Adam Farcus Preemptive Drawing and Small Sculpture Sale!

To fund some apartment renovations, artistic and curatorial projects, and living expenses, I am announcing my Preemptive Drawing and Small Sculpture Sale. If you wish to make a purchase of a soon-to-be-created piece of artwork please follow the instructions below. I will send you the work in a few short months. Please inquire by email at:
adamfarcus (at) yahoo (dot) com

12" x 12" drawing (unframed) - $50
no larger than 6" x 6" x 6" cardboard sculpture - $100

How it works:
1. Decide which type of artwork(s) you would like.
2. Tell me your preference by email.
3. I will send you a bill through Paypall, or by mail if you prefer to pay by check.
4. I will make your piece(s).
5. You get your artwork.
6. You bask in the joy of my work filling your home (or a friend's home) for years to come.

Below are some examples of my work. More can be seen at adamfarcus.com

Adam Farcus - Owl (cardboard, hot glue, latex paint, acrylic paint, spray paint, marker, rhinestones) 2008

Adam Farcus - Bluemoondog (spray paint, watercolor, pencil, tin foil on paper) 2010

trip to Jo-Ann Fabrics

RAW

IT'S RAW WEEK. ONE WEEK OF RAWNESS IN THE STUDIO. AFTER TEACHING A BUNCH, ORGANIZING AN EXHIBITION, AND CLEANING MY STUDIO I NEED TO GET SOME BUILT UP ANGST AND SHIT. MUCH MESS, METAL MUSIC, AND MAYHEM.

"National" and David Hammons

David Hammons - Concerto in Black and Blue (mixed media) 2002 : visitors to the gallery were given small blue-bulb flashlights to navigate the dark and empty rooms of the Ace Gallery, NYC.

"It is an unfortunate fact that in this country, black artists' work seldom serves as the basis of rigorous, object-based debate. Instead, it is almost uniformly generalized, endlessly summoned to prove it's representativeness (or defend its lack of same) and contracted to show-and-tell on behalf of an abstract and unchanging 'culture of origin.' For all this, the art gains little purchase on the larger social, cultural, historical, and aesthetic formations to which it nevertheless directs itself with increasing urgency. And in the long term, it runs the risk of moving beyond serious thought and debate. Viewed this way, the given and necessary character of black art - as a framework for understanding what black artists do - emerges as a problem in itself."
-from How to See a Work of Art in Total Darkness. Darby English. 2007

In a forthcoming ammendment to my curatorial statement for National, I hope to borrow this notion of culturally pigeonholed artwork that only comments on "culture of origin" to challenge expectations of what the artists in my exhibition are doing.

installation view of National, at University Galleries, Illinois State University; left to right: Rebecca Mir, Flag for the Nation of Rubaccaquon (green, silver, and purple fabric, flag pole, flag mount) 2010; Allison Yasukawa, Eclipsing a Sun (ladder, light, thread, altered Japanese flag, daughter [absent]) 2010; Maria Gaspar, Untitled [as of yet] (latex paint on wall) 2010

Play in Empty Lots

all made around Lake St. and Campbell Ave, Chicago

from Anthony Elms artist talk at ACRE

Juan Muñoz: “If you remove the furniture from a room, the room is loaded with that emptiness. It’s not an empty room, it is a room which is no longer occupied with what used to be there before. That’s a quality you cannot build from zero. You have first to build the house, then furnish the room, then take the things away.”
______________________________

Juan Muñoz, James Lingwood, “A Conversation, July 1995,” Monologues & Dialogues, Museo Nacional Centro de Arte Reina Sofia, 1996, pg 127.

new terms, after Wisconsin

jinx, hex, braucherei, powwow, gruttafoos, lucky stars, holy ghost, charm, curse, devil door, witches step, hollow ground