- My painting "Veneer" was selected for the cover of NewCity's October issue.
- My drawing "Beginning - Portrait of David Jamieson" was selected as a finalist in the Almenara Art Prize competition. The results of the competition will be revealed on November 6th.

Upcoming Exhibitions:
- October 16th: "Lure of the Local 5: Love Letters" - Mundelein Arts Commission, Mundelein, IL
- November 5th: "The Hero with a Thousand Faces" - Occidental Fine Arts, Seattle, WA
- November 6th: "UNREAL" - Lubeznik Center for the Arts, Michigan City, IN
- November 6th: Almenara Art Prize - Real Circulo de la Amistad, Córdoba, Spain
- November 13th: "Structure, Shadow, and Perception" - College of Lake County, Grayslake, IL
- November 20th: "The Creative Spark" - Meyer Gallery, Santa Fe, NM
- December 11th: "Bucky 10" - Midway Studios, University of Chicago, Chicago, IL

-My recent drawing Beginning - Portrait of David Jamieson received the Second Honors award at the Portrait Society of America's 28th Annual International Portrait Competition. 19 finalists were selected after 8 rounds of judging to be included in the finalists exhibition. The exhibition is part of the Art of the Portrait Conference at the Grand Hyatt Atlanta-Buckhead in Atlanta, GA.
-My drawing also won First Place in the Portrait Society of America's Illinois Members Competition.

Newcity published a thoughtful review written by John Preus. Check it out here!

https://art.newcity.com/2024/12/05/congregate-around-a-shared-lack-a-review-of-anthony-adcock-at-ignition-project-space/

Wayfinding
How different are signs from paintings, anyway? One contains carefully composed, two-dimensional imagery rendered atop frontally-oriented substrates, installed so as to maximize the viewer’s access, encourage intellectual engagement, and even influence how one moves through the world thereafter. And so does the other. Dualities like this one --the fine and the everyday, the vernacular and the ivory tower-- have long fascinated painter and tradesman Anthony Adcock, and in “Gridlock,” the artist draws yet another intriguing and absurd conceptual thread through western art history and the nuances of the construction industry. Here, Adcock narrows his focus. A single five-sided shape, the genesis of his inquiry, bounds each painting in this exhibition, effectively aiding in his conflation of road work signs and the work of Italian Pre-Renaissance painter, Giotto.
The works in “Gridlock” invite the viewer into Adcock’s peculiar headspace, where not only is he able to see art in the everyday (a phenomenon unique to, yet quite common among artists), he also allows himself down a rabbit hole of free associations, what-ifs, and buoyant musings. Works like Giotto’s Way and Wrong Way combine the notions of constructing a composition and the construction of infrastructure, with his trompe l’oeil rendering of crusty plywood and what look like preliminary sketches in “pencil.” He revels in the exquisite contrast that is a matte black on a reflective ground, making a sign a minimalist painting in Crossing. Alternately, the artist puts the imagery of a painting into the “sign” with Figure, wherein traditional figure studies populate the face in place of graphics. Forward and The Muck satisfy one’s impulse to see the painterly potential in the alluring illusion of viscous crud and splatter.
Further still does Adcock delve, with subject and narrative ricocheting between his two points of reference. Just as road work signs function to tell the public where and how to proceed, the imagery of Giotto’s masterpieces are (amongst other things) visual metaphors intended to impact the behavior of those who look upon them. As one of Adcock’s paintings illustrates, it’s a quick conceptual leap from the directional “This Way” to the aspirational “This is The Way.” Paintings like Adcock’s Nope and Descent serve as warnings that some things are off limits, and could have dire consequences. Interstate, immaculate in its saturated colors and iridescent gold leaf, combines this marker of one’s commute with the reassurance that one is indeed on the right path, the straight and narrow. Adcock’s Grill, though, leaves one with existential questions to ponder. Like an icon, this gilded silhouette sits centered in the sign or the altarpiece. Is it an allusion to that which all men (or, should we say, blue collar males) are supposed to revere? Does it represent the pinnacle of contentment, togetherness and leisure? Perhaps it is simply a graphic shorthand for the destination we all share, the ultimate reason for all this traffic: to get home for dinner.
-Robin Dluzen, 2024 Artist & Art Critic

https://art.newcity.com/2024/04/25/what-would-giotto-do-a-review-of-anthony-adcock-at-addington-gallery/

A video about an upcoming solo exhibition at Povos Chicago.

www.youtube.com/watch?v=5MD_6RLw86Y

art.newcity.com/2019/09/03/the-hidden-b…

voyagechicago.com/interview/meet-anthon…