The Hole is proud to announce our first solo exhibition by Rosson Crow—her first major solo show in New York since Bowery Boys at Deitch Projects a decade ago.

Rosson Crow is in one sense an American History Painter—capitalized—who has made paintings across a range of subjects, foreign and domestic, but always meditating on the American story and her place in it. Since her debut show at Canada Gallery in 2004 while still an undergrad, Crow has established herself as a big, brainy, macho painter who nonetheless maintains a performative seduction with color and content.

This new exhibition features ten immersive panorama paintings that meditate on our 2019 moment in America. In what is her most urgent and timely work to date, she grapples with the erosion of American institutions and even of reality and truth itself. “Chaos autopsies” she calls them, each taking on specific aspects of her thinking—or dreaming—about current issues. KonMari is about the latest trend of disciplinary minimalism but depicts a giant landfill of “fast fashion”; After the Rapture in a Border Town shows a human-free street at the Mexican border; Volcanic Eruption at the Junk Yard is a fierce, fiery pit of melting old cars, while Ocean Front Property in Arizona is pretty self explanatory. No humans are present in any of the works, unless a cardboard cutout or statue; in this trust fall there is no one to catch us.

Using luminous oil paint, spray paint and thrown enamel, Crow builds up the surfaces of her works as she layers their content; bleeding into one another, the paintings feel like a tinted vintage post card, hi-contrast outlines whose colors have melted with time. Using moments of photo transfer for snippets of text, bumper stickers or beer cans, the repeating transfers confer a sense of glitching in the painted image, heightening their theatrical illusionism while questioning their reality; has this image been photoshopped? Has this video been edited? How much can we trust our own eyes?

The paintings are topical but not didactic. Ignorance, absurdity and swirling misinformation make the current political landscape untraversable; to a civilian psyche it makes analysis and action extremely difficult. The exhaustion that comes from this onslaught must make artmaking even harder; most retreat, make head-in-the-sand works that don’t attempt any sociopolitical issues. Crow has always made works that highlight the staged nature of space, that look at fake or contrived scenes, like the painting above; in this Garden of Eden recreation from a religious-themed creationism park, the plants look like they are from Home Depot not an actual tropical jungle. Looking “behind the curtain” at manipulated reality is a non-partisan issue that speaks to both sides of the cultural divide, as everyone is stuck in this morass together; everyone wants to unravel the myriad ways we are secretly controlled and how power is written into our lived and virtual environment.

Rosson Crow (b. 1982, Dallas TX) is a LA-based artist known for her massive history paintings, and more recently, her short films and sets. Graduating from SVA in 2004 and Yale University in 2006, she debuted her work in New York at Canada Gallery to much acclaim, leading to her inclusion in The 23-year old Masters (Wall Street Journal, 2006). Crow has presented solo shows at Nathalie Obadia, Paris; White Cube, London; Modern Art Museum of Fort Worth, Texas; Honor Fraser, LA and Contemporary Arts Center of Cincinnati. Recently she has had solo exhibitions at the Musée Régional d’Art Contemporain de Serignan, France and the Museum of Contemporary Art Tuscon, Arizona in 2018.

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