Adam Green of The Moldy Peaches Still Thinks Art Can Save the World
By Vittoria Benzine
The darling of New York’s indie scene isn’t leaving music for art—he’s merging them. Since departing The Moldy Peaches, Adam Green has released ten solo albums, a collaboration with Binki Shapiro, and two films. He’s penned a graphic novel, War And Paradise (2019), and an epic poem, MDVL: 1,000 Years of Dark Ages (2021). But none of this is haphazard. By design, Green is steadily integrating his endeavors into a cohesive universe exploring technology, religion, and human nature.
Green’s presented numerous art shows since going solo twenty years ago, but his ten works of oil stick on canvas in Transfiguration of the Comedian, now on view at DIMIN gallery downtown, feel different. They’re larger and more polished, all centered on a deity Green calls “The Comedian,” one of many gods he’s conjured. Here, the Comedian assumes disparate avatars, from the Tibetan Mandala to the Jewish Sefirot. Over espresso and San Pellegrino, Green explained the roots of his polymathy, his new visual language “houseface,” and how art might save the world.
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