Adam Parker Smith // Seriously // May 9th – June 7th


Adam Parker Smith


May 9th – June 7th, 2014


A stab at the absurd through a simple exercise is the foundation for Adam Parker Smith’s third solo exhibition at Ever Gold Gallery, Seriously.

The exercise begins as such:

One stands before a mirror and looks directly into their eyes.

They wait until they realize they are being watched.

They look away and the exercise ends.

Smith’s new work objectifies a crisis that occurs when one does not look away once the exercise ends. Seriously consists of a series of sculptures, photographs and multi-media flat works that catalyze the mind turning in on itself, and celebrates the awareness of one’s freedom and the consequences of accepting or rejecting that freedom.

Taking up the largest wall of the main gallery is Preggers, a sculptural flat work in which a variety of spheres protrude through a wall of venetian blinds. This work depicts a farcical worldview that takes into account a nonsensical, boisterous type of humor that has grotesque implications.

Haunting and juvenile, a shadowy ghost is loosely rendered on canvas. Rock Hard in a Funky Place presses down on mounting uncertainties of the liquid fray of consciousness mixed with perturbing paraphilia. Unsuccessfully concealed is the painting’s erection, a maximization of a desire that is simultaneously a disinvestment in the “self” and a mirrored disorder.

In Smith’s most direct approach to grasp mortality, two legs dangle over the edge of a building in a large photograph, The Absurd. Smith suggests in this work that one recognizes that even the decision to either refrain from action or withhold assent to a particular choice is, in itself, a choice. In other words, humankind is “condemned” to freedom.


Adam Parker Smith is a New York based sculpture and installation artist. He received his BA from the University of California at Santa Cruz and his MFA from Tyler School of Art. Smith has attended the Skowhegan School of Painting and Sculpture, Sculpture Space, Bemis, Djerassi, Jentel, and Atlantic Center for the Arts. His work has been shown widely in the USA as well as internationally at The Brooklyn Museum, Urbis, Manchester, England, Nordine Zidoun, Luxembourg, Ever Gold Gallery, San Francisco, La Montagne Gallery, Boston, Parisian Laundry, Montreal, Galerie Sho Contemporary, Tokyo, the Times Museum, Guangzhou, China, and the Maraya Art Centre, Sharjah, UAE. Smith’s work has been written about in The New York Times, San Francisco Chronicle, Art in America, Beautiful Decay, The Village Voice,, Modern Painters, Art World, White Wall Magazine, The Boston Globe and The New York Post.




La Montagne Gallery, Boston

Storefront Bushwick, Brooklyn, 9:4:1


Ever Gold Gallery, San Francisco, Forever 21

Nordine ZIDOUN, Luxembourg, Funny Business


Ever Gold Gallery, San Francisco, Crush


Galerie Sho Contemporary, Tokyo, Over The Hills and Far Away

Eastern Illinois University, Thriller, Tarble Arts Center

University of Maryland, The Bad, The Bad, The Bad


University of Wisconsin, Be Hapi, Allen Priebe Gallery

Parisian Laundry, Montreal, Royal Turn

New York University Broadway Windows, Bold as Love


Nordine ZIDOUN, Luxembourg, Please Allow Me to Introduce Myself


Delaware Center for Contemporary Arts, It Feels Good to be Faithful to You




(con)TEXT, Sharon Arts Center, New Hampshire

AB, Nomas Foundation, Rome

Cut and Paste, Boulder Museum of Contemporary Art, Colorado

Thanks (curated), Lu Magnus, New York


A Summer Group Show, Ever Gold Gallery, San Francisco

A Gleeful and Relentless Forward Moving of Time, Carmichael Gallery, Culver City

Young Curators, New Ideas IV, Meulensteen Gallery, New York

Post Acid, Small Black Door, New York

Ghost Face, Bobby Redd Project Space, New York

This Side of Paradise, Andrew Freedman House, New York


Blind Spot, Airplane Gallery, New York

Shift Mindsets, Times Museum, Guangzhou, China

Cowboy Mouth, St. Cecilia’s, New York

Al Ghaib, Aesthetics of the Disappearance, Maraya Art Centre, Sharjah, UAE, and STUX, New York


Growing Pains, Charles de Jonghe, Brussels, Belgium

The West at Sunset, Abrons Art Center, New York

Skowhegan at 92YTribeca, 92YTribeca, New York

Unveil, Tiger Strikes Asteroid, Philadelphia

Armed and Dangerous: The Art of the Arsenal, Berkshire Museum, Pittsfield


Thread Baring, Union Art Gallery, University of Wisconsin Milwaukee

The Austerity Cookbook, The Soap Factory, Minneapolis


State of the Art: New York, Urbis, Manchester, England

Feast of Burden, TSST Gallery, Hong Kong, 2008

Peekskill Project, Hudson Valley Center for Contemporary Art

Summertime In Paris, Parisian Laundry, Montreal, QC

Galerie Nordine ZIDOUN, Paris, France


VOXXOXO, Vox Populi, Philadelphia

I Died For Beauty, Newman Popiashvili, New York

Working Space 07, Cuchifritos, New York



2008 Skowhegan School of Painting and Sculpture

2001-2003 Tyler School of Art, Temple University, M.F.A. Painting

1996-2000 University of California at Santa Cruz, B.A. Painting




AIRspace Residency, Abrons Art Center

Wave Hill Winter Residency Program


Triangle Arts Residency Program

Swing Space Residency Program, Lower Manhattan Cultural Council


Sculpture Space Residency Program

Elizabeth Foundation Studio Space


Djerassi Residency


Blue Mountain Artist Residency

Atlantic Center for the Arts




Blue Sky Program, Illinois


Chashama Studio Program, New York

Artists Alliance Inc, Rotating Studio Program, New York

Artists in Residence Program, Philadelphia Arts in Education Partnership




Fall, Art Voices Magazine, “25 Artists to Watch and Collect”

May 28, Cate McQuaid, The Boston Globe, “A Much Larger Gambit”

May 8, Mateo Finale, The Boston Globe, “Critics’ Picks”

May 7, Lauren Scott Miller, The Huffington Post, “Theft and Building Community”

April 22, Jenni Crain, Whitewall Magazine, “Adam Parker Smith Stole 77 Artworks and Lived to Tell About It”

March 29, W. Mark Dendy, The Examiner, “Thievery is Part of The Process in Putting Together One Artist’s Exhibit”

March 28, Melena Ryzik, The New York Times, “Sticky Fingers Make the Show”

March 28, Paul D’agostino, The L Magazine, “Art Picks From Print”

March 13, Brian Boucher , Art in America, “Steal This Artwork: Adam Parker Smith Filches a Show”

March 8, Kristin Iversen, Brooklyn Magazine, “Storefront Bushwick: Art, Open to the Street”

Febuary 11, New York Magazine, “The Aprroval Matrix”

Febuary 4, Madison Mainwaring, Her Royal Majesty, “A Gallery Undone”

January 3, Katarina Hybenova, Bushwick Daily, “Adam Parker Smith @ Storefront Bushwick”

January 2, Paul D’Agostino, The L Magazine, “Brooklyn Art in 2013: What to Watch”

December 1, Alexander Bigman, SFAQ, “Forever 21”


November 14, Kimberly Chun, San Francisco Chronicle, “Adam Parker Smith at Ever Gold”

November 14, Ben Valentine,, “Ferris Bueller, Vodkamellons, and Other Youthful Follies”

September, Modern Painters, “Hot Picks”

July 10, Chloe Wyma, ARTINFO, “Bright Young Things”

June 12, Hrag Vartanian,, “9 Artist to Watch from the 2012 Bushwick Open Studios”

Jun 7, Paddy Johnson,, Bushwick Basel: “Best in Show”

May 5, Tina Orlandini, The Huffington Post, “Reinventing the Pop-up Gallery With Sights on Community”

May 31, NY Arts Magazine, “Four Shows To See During Bushwick Open Studios”

March 27, Jaime Rojo and Steven Harrington, The Huffington Post, “Poor House for the Rich Revitalized by the Arts”

March 21, Paul D’ Agostino, The L Magazine, “Phantasmagoria and Phalli at Ghost Face”


September 21, Benjamin Sutton, The L Magazine, “Ten Must-Sees at This Weekend’s DUMBO Arts Festival”

August, Nie Yiting,, “Critics pick, Guangdong Times Museum”

March 22,, “The Art of Adam Parker Smith”

March, David Everitt Howe, Art Review, “The West at Sunset”


June 23, Deirdre Hering, The L Magazine, “See Something Among Works That Say Nothing”

May , Manya Scheps, Philadelphia Weekly, “Value City”

Spring, Rachel Wolff, Whitewall Magazine, “New Artist Profile”, Issue 17

January 19, Jonathan Wallis, City Paper Philadelphia, ““Unveil” at Tiger Strikes Asteroid”


September/ October, Ian Bourland,, “Critics pick, The Austerity Cookbook”

June/July, Stacey Dewolfe, Montreal Mirror, “Guns N’ Antlers”

April / May, Art World, “Urbis Delivers Hot Stuff From New York”

April 30, Roberta Smith, The New York Times, “Humble Fabric Takes Center Stage”

April 15, Angela Kelly, Trafford Metro News, “Big Apple Art, but Bite-sized”

March 7, Karen Rosenberg, The New York Times, “Toplessness and Taxidermy in Art Fairs Surrounding Armory”

January 30, Didier Damiani, d’Land Kultur, “Corpus Christi Amen”

January 25, Francesco Amorosino, Nanni Magazine, “Adam Parker Smith: il futile tramonto immediate”

January 19, Laetitia Collin, La Voix, “Un Materialism Encombant”

January 14, Pablo Chimiente, Les Loisirs, “Drole De Communion”


Allison Gibson, Beautiful Decay, Issue Y

September 26, Benjamin Genocchio, The New York Times, “In Peekskill, 2 Shows of Raw Works”

May, Michael Harvey, Art in America, “Review of Exhibitions”

March 29, Sarah Schmerler, New York Post, “Change of Art”


December 18, R.C. Baker, Village Voice, “Recommendations by R.C. Baker”

Nov/Dec, Fiber Arts, “Artist and Teens: Bold as Love”


February 5, William Pym,, “Pay to Play”

April 9, Benjamin Genocchio, The New York Times, “Love, Without Makeup”

February 2-8, Lori Hill, City Paper Philadelphia, “Whales and Jails”

February 1, Lex Chalat, Philadelphia Weekly, “Editor’s Picks”