new-york

Daniela Rossell

Greene Naftali Gallery

Daniela Rossell’s repugnant yet alluring photographs of nouveaux riches theatrically posed in the tacky opulence of their homes expose a lack that gnaws at the heart of wealth. In “All the best names are taken,” her first solo show in New York, the young Mexican artist combined large color prints (all untitled, all 1999) from two series. The “Ricas y famosas” images feature Mexico City’s super-rich looking seductive, uncomfortable, or simply bored amid their garish chandeliers, Jacuzzis, “glorious” views, and bad art. Most of these subjects are light-skinned women, members of the country’s elite “European” minority. In one photograph, Rossell poses a world-weary redhead under three generic portraits of Mexican peasants and, in another, places a rich family’s Filipina maid amid the splendor it is her duty to clean. Elsewhere, a young blonde, Rossell’s favorite model, poses in a tennis

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