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/

Solo exhibition – "In Standstill" at Ignition Gallery is currently on view until December 7th.

Group Exhibition – "Thirst Trap" opens on Friday, November 15th in the 4th Floor Gallery at the Bridgeport Art Center. The opening reception is from 7-10pm. The show runs until December 4th.

Figure drawing workshop - Anthony Adcock - 2024


Please email me to sign up!  This course is designed for artists of all skill levels. Feel free to sign up for as many days as you'd like.



Workshop dates:

Sunday, March 17th from 1–4pm
Sunday, March 24th from 1–4pm
Sunday, March 31st from 1–4pm


Location: Silhouette and Shadow Studio

1248 N. Central Park Ave.

There is plenty of street parking just outside of the studio.




Course Description:
Attendees will work from a nude model to create fully rendered drawings. There will be two models; one for the first two sessions (Holden) and another for the last two sessions (Maggie). Step-by-step instruction will be provided by Anthony Adcock. This course is designed for artists of all skill levels. Techniques such as comparative measuring, triangulation, rendering, and much more will be covered. We will be primarily using charcoal on white paper.

Cost:
The workshop will cost $65 per session ($260 for all 4). Attendees can choose to sign up for one or more sessions. I recommend taking at least two consecutive sessions as we will be continuing the same drawing. The cost of the workshop covers the cost of the model plus instruction. I accept cash, check, Zelle, and Venmo.

Anthony.adcock@gmail.com

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…