New York

Rosson Crow, After the Rapture (Border Town), 2019, acrylic, spray paint, oil, enamel, and photo transfer on canvas, 8 × 12'.

Rosson Crow, After the Rapture (Border Town), 2019, acrylic, spray paint, oil, enamel, and photo transfer on canvas, 8 × 12'.

Rosson Crow

The Hole

Hard to believe, but sixteen years have passed since Rosson Crow’s debut at the New York gallery Canada, which announced the recently minted twenty-two-year-old BFA as a precociously talented painter. Within just a few years, she would complete an MFA at Yale University and go on to have solo exhibitions at blue-chip galleries in Paris, Los Angeles, and London before mounting a major solo show in New York (her final until recently) in 2010 with Deitch Projects during the last days of Jeffrey Deitch’s first space in SoHo. By then, Crow had developed a style in which some detected an incongruously “male” approach to content, scale, and gesture. She decided to own it, showing big, bold interior scenes that toyed with the idea of artistic masculinity by image-checking canonical dudes such as Bruce Nauman and Allen Ruppersberg—as well as peers such as Dan Colen and Dash Snow—all detourned with

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