CONTACT : laurenfrancesadams (a) gmail . com
Lauren Frances Adams was born on a pig farm in Snow Hill, North Carolina in 1979. She graduated with a Bachelor's of Fine Arts from the University of North Carolina at Chapel Hill, and with a Masters of Fine Arts at Carnegie Mellon University in 2007.
Adams has exhibited at the North Carolina Museum of Art (Raleigh), the Warhol Museum (Pittsburgh, Pennsylvania), an ex-Turkish bathhouse in Belgrade, Serbia, Nymans House National Trust (England), Royal NoneSuch Gallery (Oakland, CA), The Mattress Factory (Pittsburgh, PA), EXPO Chicago (with the Contemporary Art Museum St. Louis), Contemporary Applied Arts (London) and CUE Art Foundation (New York). She attended the Skowhegan School of Painting and Sculpture, held a residency at the Joan Mitchell Center in New Orleans, La Cité internationale des Arts in Paris, France, and Back Lane West in Cornwall. She is the recipient of the Joan Mitchell Foundation MFA Award and a 2016 Pollock-Krasner Foundation Grant.
Older projects involve Elizabethan colonialism, British illustrations of Croatoan natives, and the legend of the Lost Colony. This work was exhibited at the Luminary Center for the Arts (St. Louis, MO), Conner Contemporary (Washington, DC), the Southeastern Center for Contemporary Arts (North Carolina), and the Contemporary Art Museum in St. Louis (Missouri).
Other recent works from the Decorum series trace the global histories of enslaved people, from antiquity to the present, as mediated by art historical and popular culture sources. This series utilizes ornament as indicative of the aspirations of class and social status throughout a variety of cultures. The artist works with sources that are frequently found in museum collections, where the museum acts as both witness and author. A series of residencies throughout 2015-2016 in Nevada, New Orleans and Rotterdam bring the artist to research specific sites and places relevant to slavery and global labor issues. This work is supported by funding from the Puffin Foundation and the Clark Hulings Fund, and has been reviewed in Frieze Magazine, Baltimore City Paper, The Baltimore Sun, and Art F City.
She has collaborated on a number of projects involving painting, performance, video, and installation. Sweet Jesus was mounted at the Historic Lemp Brewery in St. Louis, Missouri, a collaborative curatorial effort involving a one-weekend happening in 2010. Adams has worked with Temporary Art Review, a platform for contemporary art criticism that focuses on alternative spaces and critical exchange among disparate art communities. House Coat, a project conceived by Elizaveta Meksin in fabricated textiles, was collaboratively installed in 2011 on the exterior of Adams' house in St. Louis, MO.
A 2010 publication with Allison Smith, entitled Needle Work, resulted from curating an exhibition of Smith's work at the Mildred Lane Kemper Art Museum. The catalogue is distributed by the University of Chicago Press.
Lauren's artwork primarily features painting, drawing, printmaking, digital manipulation and sometimes video and performance in the context of installation works. Her interests include political propaganda, the history of decorative arts, and labor movements.
Adams currently holds a position as full-time faculty at Maryland Institute College of Art in Baltimore, MD.
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