| Adam Cvijanovic was born on 1959 in Cambridge, | | | | • Ideal City, Pennsylvania Academy of the Fine |
| Massachusetts currently lives and Works in New | | | | Arts, Philadelphia |
| York.Drawing inspiration from Renaissance fresco | | | | 2003 |
| painting, Adam Cvijanovic’s ‘portable murals’ | | | | • Hurricane Party, Bellwether, Brooklyn |
| depict contemporary landscapes with a sense of | | | | 2002 |
| celestial awe. Spanning 75 feet, Cvijanovic’s Love | | | | • New City, Project, Steven Sclaroff New York |
| Poem captures the dreamy and disquieting essence of | | | | • Disko Bay," Bellwether, Brooklyn |
| suburban Americana as a rapturous science fiction | | | | 1999 |
| tableau. Envisioning sun-bleached L.A. ten minutes after | | | | • Richard Anderson, New York |
| the end of gravity, Cvijanovic’s utopia ascends in a | | | | 1994 |
| whirlwind of consumerist ecstasy. Emulating movie | | | | • Richard Anderson, New York |
| backdrops as well as the acclivous perspective of | | | | 1993 |
| cathedral dome tromp l’oiels, Love Poem… | | | | • Richard Anderson, New York |
| combines the sublime horror of disaster films with a | | | | 1991 |
| majestic religiosity, as bungalows, Broncos, and palm | | | | • Richard Anderson, New York |
| trees are destroyed in the exaltation of their own | | | | 1988 |
| perfectness. Painted entirely by the artist without | | | | • |
| assistants, on a plastic used by Fed Ex, | | | | Bess Cutler Gallery, New York |
| Cvijavovic’s work reconstitutes the intimacy of | | | | • Betsy Rosenfield Gallery, Chicago |
| timeless artistry with a modern day immediacy. | | | | • Malony Gallery Santa Monica |
| Stemming from his former job as a commercial | | | | 1986 |
| muralist, Adam Cvijanovic’s paintings combine pop | | | | • Cathedral of St. John the Divine, New York |
| kitsch with the gravitas of historical painting. Completely | | | | • Stavaridis Gallery, Boston |
| self-taught, Cvijanovic approaches painting with an | | | | • Brockton Art Museum, Brockton |
| unconventional process: using a variety of acrylic and | | | | 1885 |
| latex household paints on Tyvek, his vast images | | | | • Bess Cutler Gallery, New York |
| become transportable frescoes, giant architectural | | | | • Stavaridis Gallery, Boston MA |
| interventions that can be remodelled to fit various | | | | Conclusions: |
| gallery spaces. Subverting the utopian connotations of | | | | Adam Cvijanovic, who has been exhibiting since the |
| monumental painting, Cvijanivic’s tableaux embrace | | | | mid-1980s and is now represented by Bellwether |
| the serene and idyllic while portraying haunting scenes | | | | Gallery in Brooklyn, is gaining increasing praise for |
| of desolation.SOLO EXHIBITIONS | | | | large-scale, deftly done illustrational landscapes and |
| Solo Exhibition, | | | | other scenes, ranging from cowboys in the West to a |
| 2005 | | | | beach thronged with young people (he was also |
| • Hammer museum, Los Angeles | | | | featured in the traveling "On the Wall" exhibition |
| • Love Poem (10 Minutes After the End of Gravity,) | | | | organized last year by RISD Museum's Judith |
| Bellwether, New York | | | | Tannenbaum). |
| 2004 | | | | What to Do Next... |