The artist explains why prematurely memorializing beloved figures such as Dolly Parton and Grace Jones is a means to inspire hope.
, who follow in the footsteps of past McEwen subjects such as Kate Moss and Macaulay Culkin. Their shared iconoclasm might be why some of these subjects—Jeff Koons, Richard Prince, and Malcolm McClaren among them—seem to appreciate this unique form of portraiture.
In the 11 years before he returned to the obituary series, the work he made rendered the ultramundane extreme, or vice versa: paintings of crashed Teslas on supersized kitchen sponges; sculptures of water coolers that turn out to be made of graphite, the kind you can draw with; illustrations of Nokia text messages that feel too real to be fiction ; or even the riffs on the all-too-familiar BIC pen that are at the center of his other current Gagosian"Colosseo No.1" by Adam McEwen, 2023.
McEwen’s return to the obit series of works, inspired by a post-pandemic surge of optimism, came just before the fake celeb deathon TikTok. He’s always been one step ahead: When I suggest that he pen his own obit—which he’s always felt would be rather obvious—on his deathbed, McEwen responds like the journalist he once was. “Well, exactly,” he says. “Beat them to the post.”
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