Rosson Crow


Painter said...

Rosson Crow @
55 Chrystie St
between Hester & Canal),
NYC NY 10002

chicomacho said...
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Anonymous said...

I like the intuitive translation of space.

I'm curious about the "falling-up" drips/scrapes. If this is something specific to this painting, if the artists uses this selectively or routinely, if there is a theme of eerie works or if this is an isolated piece.

gazinia said...

There's more images at canadanewyork.com on Rosson Crow's artist page.

This is a very familiar style of painting (and subject matter) these days -- how do these artists distinguish themselves or don't they?

Cooky Blaha said...

kinda reminds me of Scott Taylor via the shining

Thousand Points of Light said...


Can you specify what you mean by familiar style of painting (and subject matter)?

Its great watching young painters fly through work. CAREEEERRRS on hyperspeed.

PrettyPablum said...

I admit the theatrics of these are pretty amazing.
The subject is done a lot- psychedelic bourgeois seems to be a hot thing right now. I wonder- where is it coming from? Anybody have any clues as to the cultural significance of it?

zipthwung said...


you disitinguish yourself by going to yale(depends on the year), skowhegan(look whos on board that year), Columbia(hot), UCLA(not so hot).

That cuts it down 50%
Work your way to 5% and its all WORD OF GOD.

How did Jim Morrison distinguish himself? I mean.

THese paintings arent bad, I mean after the washed out palette of the last two, its a deluge.

Renminds me of the parlour tricks of the WInchester mansion video wassisname.

Or Melancholy blurred hummingbird chandelier dude.

RIght now I could go for a fried Isamu Nagutchi donut.

Park your synapse player by the Black hole sun.

Mind like a steel seive.

Cooky Blaha said...

the yayoi kusama show was doooope

chicomacho said...
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rentboy said...

this show was not ready for the public.... she seems to have regressed since her last show and the group show at boesky in 2005... the online images are more engaging than the in-the-flesh paintings

she has some painting skills but not enough yet and the subject matter of decorative decay or decayed decorative is handled like a las vegas interior designer; what's with the carpet installation??? it feels like dead irony and not enough painting skill to pull it off.

her strength seems to be her handling of light most but she travels closer to ross bleckner than goya

get into the studio and away from the career

zipthwung said...

Ol ross B
He had the aids thing.
Rosson shoulda painted New Orleans.

You know? Is it all about the context?

Can the kids wander in the desert way past their bed times? Can I pops? Can I?

Another way you can differentiate yourself is be a rock star.

Kurt Cobain's Juvenile Artwork Sold For $21,510
Kiri Blakeley, 12.17.04, 3:56 PM ET

NEW YORK - Today at Christie's rock 'n' roll memorabilia auction in New York, two pieces of early, original artwork by rock icon Kurt Cobain sold for $9,560 and $11,950. (Click here for more on Cobain's artwork.)


Mad Magazine MArginalia makes for modest mental moment.


PrettyPablum said...

those yale loans must put one in a pretty tight space. If I, in a lapse of good judgement, decided to go there I would probably want to kick start my career too. I know a guy who went there and he has been working there (NOT as a prof or anything) and not showing- maybe he doesn't have time to make art? Seems like a tricky maneuver, esp. if you are not independently wealthy.

I always think private schooling for six years is such a poor investment. What can Columbia give you for 64 grand that talent and hard work alone can't give you?

zipthwung said...

i think columbia has a curatorial program? Art historians? I went to a school without any of that - so no exposure to the critical wing - the anal ysis.

Some people think thats good - it insulates you so you can authentic volk-kunst instead of academic art references or "art for art's sake".

I dunno, I think this plurality thing is overrated, which is why im elitist.

But as a professional wandering atheist its hard finding the common thread to embroider with.

In conclusion:

DOnt spill the rose.

Drink the pink!

zipthwung said...

I swear by the slinkers, the runners, the sinkers,
by the night swarming,
by the dawn sighing...

So, when the Trumpet is blown with a single blast
and the earth and the mountains are lifted up and
crushed with a single blow,
then, on that day, the Terror shall come to pass,
and heaven shall be split, for upon that day it
shall be very frail,
and the angels shall stand upon its borders, and
upon that day eight shall carry above them the
Throne of thy Lord.
On that day you shall be exposed, not one secret
of yours concealed.

Thousand Points of Light said...

To chicomacho, rentboy, PrettyPablum:

If the takeaway message of the Leipzig painters, esp. en masse in shows like the Rubell Family collection show, is that they have a bunch of East German cities full of neglected, haunted urbanscapes and interiors( or as my wife puts it, “they paint f…ed up buildings”), then what do we have? Certainly its not ‘psychedelic bourgeois’ sitting rooms, is it? Who paints here, now?

rentboy said...

rosson c. vs. ross b.


zipthwung said...

I liked CLue with its secret wormhole-like passage . The original board had a top down perspective, so you could see the walls.

The movie had three different endings, which kind of correspond to the different horizon lines in some paintings in a space=time kind of way. does MC escher start that? Of course not! - hardly a naive painter this - and yet its being criticized for being undeveloped.

Did Mrs Plumb do it with a candlestick or is that a red herring?

The sea positively boils!

gazinia said...

thousand points:

If you still need me to answer your question --

Thinking Leipzig school as you said, but locally and age-specific:

Kelly McCraven - subject matter
Chris Dorland - style

to name two.

Thousand Points of Light said...



However, I think both painters are beyond nostalgic for times that don't really have much bearing on USA space now.

I'm just trying to figure out why young painters are into these romantic interiors. Is it a knee jerk reaction to banality that surrounds us?

I've never understood why he (Dorland) paints those constructs... its someone else's nostalgia, he's way too young to pine away for that stuff with any conviction.

cathy said...

my my mauve.
I think of golden girls.

PrettyPablum said...


We have plenty of f-ed up buildings! America, and the rust belt, where I come from, is full of decaying vestiges of post industry. We have lost our skills as a country, so to speak.

I think Dorland's subject is prescient, I mean, these are the non-spaces that surround us: the malls, convention centers, downtowns, big boxes, that are simply meant to be passed thru on the way to the next place of consumption. The "vanishing point". As for the lurid color, I am lost on that one, I think its where the nostalgic look comes from.

The people that are really looking at these spaces in America right now are photographers.

Does anyone agree that the comparison to other artist thing is getting a little tired? Considering that it is hard to be original anyway, pretty much impossible, what does it teach us to play these matching games? Unless it is totally blatant, of course, but you could look at pretty much any artist and tell right away what their influences are- it means you see a lot of art, but not much else.

exu said...

stale prettiness feels so stale-still,give this person some time-

zipthwung said...

bro its totally haunted house time. get it? ancestor worship? Did you have to know them to feel em? No, and thats why kids have just as much to say as their parents. I hate that fucking argument of inexperience, BTW. I know "kids" who have more to say than some septagenerains. Mostly its semantic blockage, as dennis hopper says.

Nobody has loved and lived and lost and lived again and lost and loved and better to have never painted at all.

The truth is in the Rock.
Proof enough.

exu said...

the magic age is 35,6-in the art world-

Thousand Points of Light said...


I love this topic.

We do indeed have plenty of wrecks. I spent a bit of time in Worcester, MA. I know it well.

However, that's not an architectural space that we inhabit, only avoid. There's little painting language around it.

I completely agree that american photographers seem more concerned with contemporary space. There's good work right now.

I disagree with your pts. on Dorland. He's painting off postcards circa mid-60's, the last gasp of our utopian impulse in architecture. They have nothing to do with shopping malls today. To me his paintings are about the loss of a shared space that had any monumentality to it at all.

My interest in comparing of artists is not about who's hot, what's on, ect, per se. Its more interesting to understand influence, and the painting world is small enough that it can't go without notice.

Cooky Blaha said...

Thank you guys for comparing artists, the more names one hears the more one is exposed to other art. On the other subject, I dont understand why an artist's inspiration has to be from life experience;why is not anything valid?

Brangalina said...

The talk of grad school and artist age bores me. Comparing artist is still in the realm of talking about the actual work posted.

Thousand Points of Light said...

cooky blaha:

esp. today as no one seems to have much of any unique experience outside of media and marketing grasps, I wouldn't say that utilizing subject matter outside life experience is somehow off limits. Its certainly common.

Personally I find that work that doesn't have some interesting connection to a life lived more often than not feels unconvincing. I'm not talking about painting from life; I'm talking about a direct connection to the subject matter not by borrowed influence, but by preoccupation and obsession.

You can feel it when the subject matter is riped off, true?

Decay Image said...

I like the mirror aspects in these. And I think there is developing something more than a bourgeois nostalgia, but a reference to decaying public spaces, old hotels (there's the shining/redrum reference), conference rooms. I know she has been living in Paris for a while but there is something american to these spaces. Nostalgia is tricky subject matter in this postmodern moment—is it nostalgia for these places, or is nostalgia itself the subject matter? Is the nostalgia connected with formal modernist painting perhaps (are all those drips a signifier nostalgia for abex?).

There is a lot of bitterness and resentment when someone seems to get selected by the marketplace for attention. Especially if the person is young. I find it difficult not to feel resentful myself sometimes, but it isn't the artist's fault. It's just the luck of the Zeitgeist and no one controls it. And it can disappear as quickly as it comes. I'm glad at least more women are benefiting from it.

PrettyP, as to the problem of originality. It's an issue the older one is. To my generation it was an article of faith, the whole ballgame if you were really great, you had to be original in some way. To a slightly younger generation it was problematical, i.e. appropriation and the whole pictures crowd. But to a much younger generation it is a non-issue for exactly the reasons you describe. I cannot help but feel that it is still important. It is what you earn by staying at it for 30 years, the work becomes so individuated it just isn't like anything els.

zipthwung said...

Well like I think i might be into the Chilli Peppers around Mothers Milk, where bass driven rock started (after mingus or Jaco of course) - but then it became Limp Bizcuit. The peppers were more alterna-jock, at first where LB is sort of sub-urban jock rock.

But I know not what it means.

In any case I dont think you need to go to Germany on this one.


De Knoonking How do you spell it Dekooning anyway the smeared line or eraser is Bills or is it Gorkys? anyway Bill made it a technique Bob Rberg was really a Homage not a killing off his father Then more recent is Gerhard R sorry about spelling but Im to lazy to look up anything

Thousand Points of Light said...


we went to Germany for a sec to check out the buildings. When we got back we saw a bunch of paintings about the buildings. We don't have as big a team as the Germans who paint buildings.

We do have the Red Hot Silly Peppers.

painterdog said...

these paintings make me feel ill.

Yale huh?

Oh well she needs to pay those loans.

These are like Gerhard Richter's only he can paint better and did this smear thing over 30 years ago.

Anonymous said...

Smells like gothic candy and torn stockings. Dripping up is so early 90s.

no-where-man said...

i worked as a archivist i a house that looked just like this.

cultural signifigance = looks like old money to new money

zipthwung said...

tpl - Like Tom Sacks never worked at McD's? Neither did I, but I did see their training video in situ though. had to go throw up. Their buzzers and bells are low budg - dodge colt rather than bently. Chilli Peppers went to amsterdam and stuff. I think that informed their more abstract work.

closeuup said...


Thousand Points of Light said...


Tom Sacks doesn't do buildings, and the only building related thing that the silly peppers ever did was burn down Rick Rubin's place in Laurel Canyon.

That would have been a good American building painting.

PrettyPablum said...

Re decay image:
"as to the problem of originality. It's an issue the older one is. To my generation it was an article of faith, the whole ballgame if you were really great, you had to be original in some way. To a slightly younger generation it was problematical, i.e. appropriation and the whole pictures crowd. But to a much younger generation it is a non-issue for exactly the reasons you describe. I cannot help but feel that it is still important.It is what you earn by staying at it for 30 years, the work becomes so individuated it just isn't like anything els."

Yes, I agree. Then why is everyone so quick to judge young artists on originality? I find it totally counterproductive to compare myself to other artists, so I wouldn't do it with anyone else.

PrettyPablum said...

even though I do think this subject matter is totally contrived but thats beside the point.

chicomacho said...
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chicomacho said...
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so clever and beautiful said...

I don't understand why you people think these paintings are so contrived. Maybe because they are dealing with something that people are interested in right now in history? Nostalgia, the Cinematic, paint-as-paint, Dario Argento horror, appropriation etc. Just because a lot of people are clued into some of the same stuff doesn't mean it's worthless...it means there is something relevant about it. By the way, those Yale loans are not worse than the loans of the hundreds of other private MFA programs in the US, and cheaper than many. xxoo SCAB

chicomacho said...
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no-where-man said...
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no-where-man said...

Tom Sachs did do Prada Deathcamp... deathcamps are buildings, and Unite thats a building also if roomer is correct the buildings in Bitches in Money are taken from the dimensions done buy students from that cute little school in the downtown D that i am a proud alumina from when he did a visiting lecture a few years back... heard he had em out with rulers. (no fact checking on my part here) Life ain't nothin but Bitches and Money indeed.

so clever and beautiful said...

yes these things are old or oldish ideas. but duh, you have to make combinations of things you are interested in in this world. You would rather look at advertisements than take this painter's paintings seriously, so you are automatically disreagarding not only them but probably a wider range of work also. Maybe what she learned at grad school was to not disregard ideas in a quick hurry just because they have been around, and so she ended up with a composite style/voice that a lot of people respond to.

no-where-man said...

or a voice that alot of people that listened in Grad school have... white noise.

chicomacho said...
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Anonymous said...

I think the painting is OK>At this stage I don't wish to comment further (into the listening mode at the moment).
Though chico does bring up a valid point about cereal boxes. Why do we look at them while eating our cereal--or did so as a child?
My answer is that it makes you feel good. And all that useless information on the box, not just the design, but the nutritional facts--the warm-hearted messages--have meaning when you are chomping away @ your ™ Sugar Frosties. In fact, the mind is slowed down, almost to a zen-like slow reel, where the box, in front of you, is no-more-important, or less, than-anything-else.

The box is everything!

This may help us return to the painting painter has offered up in some perhaps not new light but in the light that glowed in our childhood, of memory of behavior in front of the box, moving it around, chewing away, late for school.

Cooky Blaha said...

natto and genmai 5 am. fuck the cocoa crispies

Decay Image said...

This is purely as more information: I saw the painting rosson did as an undergraduate at SVA. The earlier paintings were basically interiors, but not as particular and without the feeling. They were much more about formal invention in terms that the interior arose mostly from abstract painting processes. You can see what I mean as there are some on the Canada website that are somewhat like those. She received a lot of encouragement from the faculty as they were very energetic and inventive for student work. By the time she was a senior Jeffrey Deitch was showing them or maybe just selling them, I forget. Just to get into schools like Yale these days seems to require a minor reputation.

I remember she tried some with figures in them (historical subjects) which failed for various reasons, and she went back to the interiors. I haven't seen this show yet, but the paintings seem to be developing in terms of mood, imagery, and invention. This is not to say I am exactly wowed, but I don't dismiss them either. She is smart and inventive.

Listen. She has been lucky. No one knows how she might develop. Do I think it is a good idea to show early? Basically no, I think it is constraining to an artist's development because it doesn't allow for real failures, which I think there should be plenty of in one's 20s. But if you happen to get picked up by the big guns, for whatever reason, do you really have a choice? It takes an awful lot of strength of character to turn your back on that, and frankly very few 20 somethings have developed that kind of confidence. So when the spotlight shines on you, you better dance your little heart out. But everyone seems angry because it is out there, and there is no reason to be. If she is smart enough, she will someday turn this into something unique, and if not it will fade soon enough and there probably won't be many second chances. It's not a zero sum game however, and if someone less talented than you is showing, it has nothing to do with your own chances. I still say that I'm glad the same overevaluation by the market is now available to women and not just the young guys.

exu said...

well said.

no-where-man said...

no it takes fear to turn your back and "strength of character" to go forward with out bending. i have never seen this in person or heard of her before.. but this is steeped in memory, memory i can fathom recalling.

poppy said...

What is a great idea once its understood? Just a painting? A memory of a great idea? I guess too many people understand this.

poppy said...

or think they do...

Hey I've got a problem, can somebody help me with this jar of pickles?
I can. Great i'm starving for a pickle.
Here you go, you were going at it the wrong way. Thanks I really appreciate it. I can do it again if you like. I said thanks, problem solved, now get the hell out of here....

tumbleweed said...

Curious all this talk about yale painters. I wonder where everyone writing these comments is coming from, what qualifications they have to make judgements on grad school? Are you all working painters in NYC...?
I am especially curious as an undergrad, surrounded by teachers that are themselves grads from yale, and talk like they expect us all to go into grad school ourselves.

Getting back to the subject of actually looking and talking about the painting posted--
I cannot remember ever loading this blog and actually, gasp!, seeing some real, significant, deep space.
It is not a good sign that this is the only thing about this painting that intrigues me. But. This space jumped right out at me, sucked me in. I wanted to walk behind those flowers.

zipthwung said...

ghost dont allways want to come back

remember when gothic was big? Man that was a rush.

Now its all post-gothic and shit.

Dario, man you can be my fan if you want. aznd threough strange currency you will get beer.

Anonymous said...

... loading layers in Photoshop skewing them, will get you there, tumble, if you are interested, if you want to go there:)

Decay, you are are gentle person.
I still see promise!


satanarchy said...

this blog should be called 'sour grapes nyc'... so so so unbelievably pathetic, and really tragic that it comes out of nyc...

If you took out all the time wasting bitching about age and grad school it would all be frigging blank space... Thats why I left New York, too much life wasting, noting-to-do-with-art b.s., and not enough people just making work and looking at work and being eager and excited.....

have fun...

satanarchy said...
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satanarchy said...
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so clever and beautiful said...

I agree with Sart i mean Satanarchitetc!
Why can't we talk about the work without complaining about the age and degree of the painter. This blog would be a really good forum, esp. for those of us who have left ny and haven't got much access to the shows that are going up. but instead it is a place for people to gripe in the most pointless way...and always the same like five dudes.
sad! that said i think it is a cool blog if you ignore the comments, and thank you "painter" for hosting it.

zipthwung said...

If someone is selling paintings for relatively large amounts, its an issue as much as "talking about the paintings" or where the drip came from or the motivation to paint rooms. In fact the motivation to paint rooms might spring from the money issue.

So for them, poainting might be about something other than what painting is for you - and I think thats the issue.

Nothing snarky or bitter about adressing the context - its like regulating the guage and making sure the archetypal playing field can be navigated near the center, where symbols overlap rather than unfolding into infinite taxonomical hyerarchies.

God forbid painters becomes some kind of pedestal.

But painting ARISTOCRATIC rooms makes the issue doubly highlighted.

SO you peopel who complain should live in NY and see the other side of the looking glass. I see stars brah! I do! Way beyond the perimeter, Immaculate.

My point about McDonalds is the obverse of what I see as this paintings meta-thesis - what about people who paint the abject (Hamburglar anyone?) as VALUABLE fine art - but who never really lived abjectivity. Its nostalgie pour la boue - or even a phantom hand when you have no phantom arm.
Its like hanging out in the green room when you want it painted black. And your rider said bowls goldfish but instead you got stacks of crack. Or hanging out on the wrong side of the tracks when you know you can go back. In toto, illusion.

zipthwung said...

As NWM was kind eough to post, arte-pauvera can extend to oils - maybe its medium-poor, but still, when you paint that way, its not exactly obsessive. I was looking at Takashi Murakami's "Little Boy" catalogue - the shows thesis is that WW2, the bomb and the subsequent colonization and so forth by the west lead to a sort of infantilization of parts of society, leading to a "kawaii" sensibility - universally i call that tone.

In the same way, this painting is a product of its environment. Dig?


zipthwung said...

I meant TOm Sucks Foam Kore(TM) constructions. Not exacty a cheap material to use, actually.

zipthwung said...

oh but feel free to actually go back to your pedantic Kantian formalism.

so clever and beautiful said...

Fine, whatever! a formalist approach to artwork, Kantian or not, allows us to set aside what Kant would call our "interest"--that is, what the work makes us think about and respond to outside its own given perameters--and I think you dudes really need to try to take a more disinterested approach here. What the painting costs, how old the artist is, your personal relationship to the subject matter...these things can and should be set aside when you attempt to make an aesthetic judgment about the work. All you are doing is embarrassing yourselves by revealing too much about the unsatisfactory state of your own lives and/or work, through the lens of these paintings.
ok, byeee

Thousand Points of Light said...

so clever and beautiful:

Zip's upset with me, not you.

I like bricks, he likes fractals.

chicomacho said...
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no-where-man said...

so clever and beautiful, wow! really ever hear "show me don't tell me"

whom r u to be telling us how to make an "aesthetic judgment"... or how i place "value on a work" and if you think looking at factors about the life of the Artist takes away from understanding a work of Art, your missing out.

let me guess... my sweet little deary graduation time near? guess what baby! the heat is on...

i don't respond well to "dude" Brah. lick it. embarrassing indeed.

dotor kunst said...

“Curious all this talk about yale painters. I wonder where everyone writing these comments is coming from, what qualifications they have to make judgements on grad school? Are you all working painters in NYC...?”

“this blog should be called 'sour grapes nyc'... so so so unbelievably pathetic, and really tragic that it comes out of nyc...”

The above comments, I think miss the point of Painters NYC. Yeah there are a lot of whiners and pointless blather, but that’s the point. It’s like they say, opinions are like assholes everyone’s got one and they all stink! If the critical standards are extremely high, or elitist, that’s because New York is the center of the art world, and that translates to the center of the painting world as well. Nowhere else can you see so much good and bad painting as here. Conversely that’s why you have to be so tough to make it here. This is the Big Leagues, not some grad school where professors are paid to coddle their charges, and help build their self-esteem.

zipthwung said...

Moes supposes his toses are roses. But moses supposes erroneously.

Through the door it slithers in,
Accompanied by its peers.
Always groveling for attention,
While no one really hears.
In its mind it's full of wit
And quite the social king.
It plants itself among the rest,
to give its deadly sting.

It's just a matter of opinion.

Further now there's a man of taste.
Of talent and precision.
To work and strive at his artform.
Has been his life's decision.
The stage is set. The perfect show
Is put before the mass.
Only to be ridiculed
by some slimy, pompous ass.

It's just a matter of opinion.

zipthwung said...

el paso!

get a rope!

Is it hot in here or is it hot? I like Kant and I like cant.ilevered arcs.

heidilolatheayatollah said...

Hey I like all the insight here, good or bad-- and just like stated above, not liking an artist's work or vision does NOT mean sour grapes.

That said-I loved this show!! The layers of glossy paint, the secret layers of paint glinting from underneath, this ain't no Richter squeegee pulls over a painted copy of a photograph, I assure you.

Some areas, the drips changed color at the edge of a color change, it was very thoughtful and was not simply using a crutch. Also, the layers of depth and transparency vs drips underneath and over that worked themselves into the composition, if you can see this show please see it!!

Also, I feel the need to clarify, this isn't mindless appropriation, as in victorian + argento movies=insta- subject matter. Her mother was an interior designer so I imagine that was a heavy influence. I don't think she could have painted these with as much conviction if it was just a "look". I think a lot of artists do that, but she is not one of them......

Also--I don't sense a fade away, artists this young who make a body of work like this only get better and better, I haven't liked a show this much since I saw the Cecily Brown /Saville show in 2000 I think.

heidilolatheayatollah said...

pretty said:
I admit the theatrics of these are pretty amazing.
The subject is done a lot- psychedelic bourgeois seems to be a hot thing right now. I wonder- where is it coming from? Anybody have any clues as to the cultural significance of it?

In my opinion I think it has something to do with the theme of Americana, remember how the past few years it was a fascination with suburbia and the darkness underneath, I think it is a continuation of that --it's kind of connected.

random quotes from the foreword of her catalogue:
the haunted look to symbolize juxtaposed historical interiors.

like a Hollywood sound stage, all is frontal and flimsy.

An exploration of how these scripted places play a role in the record of collective forgetting and collective sublimation.

Sorry I'd like to transcribe more but hope that helps?

chicomacho said...
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so clever and beautiful said...

Is this a joke like my Kant joke? or do you really believe all this bitter vitriolic stuff? Regarding your reply to my comment, I think the press is more than happy to dissect young artists because of their age etc. Remember those Times articles last spring? If you are one of those people who idolize the painters of yore, please note that most of them hit their stride in their twenties. I guess you went to some fancy grad program; you yourself would have to say "so what" to that. And I can't take you seriously about your awesome career as a painter. It doesn't seem possible to exert this much effort spreading poison if you are at all satisfied with the reception of your own work. However, please feel free to post a url at which we can find your work for some disinterested aesthetic criticism! Unless you are afraid.
Anyways, Rosson's show is fucking cool.

no-where-man said...

"cool" a little more is required of you to pull yourself out of the muck on this one my dear. Lets hear some AESTHETIC REASONING!!

chicomacho said...
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chicomacho said...
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so clever and beautiful said...

so....images? website, personal or gallery? golly, at least let us have a peek. unless....

heidilolatheayatollah said...
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heidilolatheayatollah said...
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chicomacho said...
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no-where-man said...

fine i am dust in the wind.... but i still don't see jack shit from so clever and beautiful - cool - cool was bottomluss whiskey at zwirner tonight....
over strings and things... this, this is decoration for my eccentric $'ed gramdma///;;

y am i not hearing swatches of AESTHETIC REASONING???

back your shit up.

PrettyPablum said...

Satanarchy can SUCK IT.
Anyone who is not independently wealthy SHOULD have a vested interest in the market!!! As in, WHY does hype have so much sway over something that's ultimate objective is to be TIMELESS?

I am in my 20s and selling and this youth worship scares the shit out of me. I don't want to be "it" for five minutes, I want to be able to work until I'm dead. If an artist does not think about their legacy, they are making fucking bon bons.

And I agree that the critics are only "art writers" any more, like that NYT piece on Bryce Marden made me want to throw up, justifying his four studios because he needs the "Light" to make his wonderfoul decorators dreams. I think pretty much everyones opinions here are valid, supposing that they are really telling the truth.

and the grad school and market relationship IS out of control.

Thousand Points of Light said...

Go PrettyPablum!

btw, the timeout piece on her show this week is really worth a glance. She had to do a residency in Paris to figure out Las Vegas and Hollywood?

No wonder they feel vapid in spite of their painterly qualities.

I come down hard on this painter because the general subject matter is interesting to me.

Decay Image said...

riddle me this kiddies: what is it about this work that is making everyone so nuts? This thread has lasted through two full days, and has at least 89 comments which is rivaled only by John Currin in the past week. I mean the egregious Fiona Rae only elicited 43 comments, and she is showing at Pace Gallery. I think this work has much more depth than Rae, and Jason Sleurs. Is it just that there is a perception that the work is too hot for how old she is? Because I think the vehemence of the reaction must mean that there is something there that goes beyond the too young for so much success issue. I mean today's post has only elicited 17 comments. I think the people who have dismissed this work should rethink based on the controversy, especially if you read the posts, there is very little defense of this work, except that it is "cool." It definitely makes me want to defend it, just because people can't seem to simply ignore the work.

To PrettyPablum: as noble as I think your goals are, they are somewhat naive. There really is no timeless. The idea is just an anomaly of our culture. Things that last are arbitrary especially the older they get (I'm not making this up, someone did a study a few years back of museum holdings, it was in Art in America). Artists make work that is a direct response to the times in which they live, that's the best you can do, and the rest is luck. Sometimes things have a resonance which outlives their moment, but you can't plan that, and is dependent on it getting noticed in the first place. Sometimes something doesn't get noticed right away, and if it does eventually, it means enough people knew about it so that when the time was right it finally gets picked up on, but only because it became relevant to that other time, not because it was particularly prescient. El Greco was practically forgotten until Picasso revived interest in his work.

Anonymous said...

Wow. People should go and see Ms. Crow's show for themselves. The paintings may not be completely "matured" but they hold a true passion and curiosity for paint that is rare. To knock them for being green is misplaced and shortsighted. I don not understand the position taken above that the paintings are trendy as they are certainly outside of the grey flags downtown smartie ptg scene (Josh Smith, Blake Rayne, Elena Pankova ect), and do not jibe with much else I can see at the moment. I think these ptgs are thoroughly uncool and I appreciate their indulgence in phantasmagorical expressionism and bravado. All the better coming from a young woman! I believe the opponents of this show are sexist. I have never heard such rants over age for young emerging male artists, what the hell? It should be noted that canada seems to be showing primarily women artist this year. I've seen two others this season so far and the next is Carrie Moyer (who all you age freaks will probabley yhink is too old) I am grateful for this seeing how much sexism still prevails in this business.

wod zar xam said...

I very much like Rosson Crow's work. Cant wait to see this show.

I like the way she is getting in to these victorian interiors with Bacon-like horror compositions and crazy, tripped out light... I see why someone earlier made a connection to Scott Taylor, in that she is mixing historical and contemporary painting techniques fluidly. The subject matter makes me think about a proposed conection of antiques to mortality.

There is something potent about antiquity which sets us off in a fetishistic craze. What is the base elemental that does it? For one, it may be the aura of our own impending death - these objects and interiors become mile-signs that quide us over the stretch of timescape that came before us, and will go on after us. Have you ever trecked downstairs in the dark of your grandmother's house at 1:56 AM to get a glass of milk? In the half light, those teetering rocking chairs and odd old lamps exhude a spookyness that is undeniable. They are a musty, varnished whisper of death till we get back under the afghan, where they may scream in our dreams.

In the colors Rosson has mixed so brilliantly, we hear them screaming. They are calling us from the other side of time, pointing to us to say "here you live, but here, also, you will die one day."

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Cooky Blaha said...

I also find the negative reaction to this work somewhat bewildering, though on some level I understand and agree with the points made in criticism towards this artist. Her subjects can be percieved as contrived, but when I saw this painting I did immediately recognize an honest enjoyment of the tactility of her medium, and that combined with a fair amount of talent lead me to respect the work on some level. I have yet to see them in person, and the other works held up less, but I do have hope for her progression, and have no distaste for her success. In regards to the many crticisms chicomacho made against this work, some of which I found somewhat valid, I would say that chico in his criticism often expresses disdain for what can be viewed as trendy "devices", many of which can be seen here, via conceptual considerations (many of which are not very original) as well as formal devices such as the upsidedown drips, garish color, and specific use of photography and perspective. These types of methodologies are utilized by other artists singled out by Chico who may also be seen as trendy, such as many in the Feuer stable like Schutz and Balincourt. Though I do recognize the downsides that can be present in work like this, I am reluctant to rule out someone's work simply becaue it is trendy, and believe someone can be engaged in an honest and inquisitive process while still being involved with trendy subject matter and technique. That being said, the only artist I recall who chico commented positively on (by saying it was superior to Schutz's work) was Jason Sleurs. Thus if his work, which I find quite stale and tame, and perhaps work like it, is being presented as a counterpoint, then I will have to agree to disagree on the basis of taste. I have asked Chico numerous times to name contemporary artists who he feels are doing good work that could be seen as a counterpoint to the fashionable scene in Chelsea, but have never been given any examples, which makes it very hard to understand Chico's perspective. Thank you all for the interesting thread.

Thousand Points of Light said...


any comparison btw the two beyond the obvious?

no-where-man said...

i don't think the amount of posts on here have as much to do with the work as - bizzare attacks on people on this board.

Anonymous said...

Hi everyone- Rosson here. I am a huge fan (and lurker) of painter's blog...even if it is full of complainers!! I am very interested and greatful for everyones opinions. I'll gladly answer any questions anyone might have about my work....of course in no way attempting to change people's strong opinions of my work!! Thanks-

Thousand Points of Light said...

Wow, Great!

I'm looking forward to seeing your show tomorrow.

I'm intriqued by this notion of appreciating American space in via Paris in your residency (Time Out article). True? Can you expand?

For some reason I feel like your sense of space is borrowed and a bit contrived. Are you at ease with the development of your imagery? to what degree do you feel like you are plumbing contemporary space and feelings/approaches towards it?

Anonymous said...

bout to have a zak smith type free for all up in here

Decay Image said...

I can't believe this is still going on, but as long as it is…I was just by this show, and I concur with those who said these paintings should be seen. I think they are a big improvement over the early work. They are very large and generous in spirit, and for those who were criticizing the love of wet splashy paint for it's own sake, I have to say that the painting moments are genuine and inventive and do not seem disingenuous. Each painting pretty much has its own mood. Their was only one moment in an otherwise very good painting that I disliked, which was an anamorphic skull via Holbein's ambassadors, only done more expressionisticly.
the painting on the right
It must have seemed a brilliant idea at the time, but the reference is too much of an art historical cliché. Minor criticism in an otherwise compelling show.

ad3pt said...

damn - if that is rocrow up in this, then all yall haters are gonna be feeling like suckas --- throwing venom with your face covered is h e l l a weeeeaaaak!!

I went to the show. Psyched for CANADA that they get some $$$$ - they deserve it. As for a twenty-something that is successful? Why not. Let them eat man.

The work - its like doing slappies at Astor in 1995. they're decently sized. the palette is rouge a lot, and has this lanky neon-ness to it. The paint is slippery, its flying, its dripping. Its not anal. Its not taped up. I can't read it as being a conceptualized effort. Its more like, hell painting is fuking rad, and I like victorian furnitures and scary movies. but thats about as objective I can be about it.

do i see a lot of this around - not really. again, im more psyched that they're not the mainstream conceptual bent hanging onto to make it seem smarter than it actually is. Im sorry but the show at a kreps is sweating that tip h a r d

kelli said...

I think it's great that she cracked 100 comments here (only a few people do) and that this very talented and promising person has an opportunity to develop her work instead of suffering or being distracted with a day job. I can think of plenty of artists who really shouldn't have shown out of grad school like Casey Cook and many others who are already good at 24. I'm looking forward to her future work.

Anonymous said...

I hope no Zack Smith type discussion will take place- I'm not hear to argue with people. Everyone's intitles to their opinions-- I have very strong ones on other people's work, too.

Lets see....Thousand points of light: as for the living inp It did not take me moving to paris to realize I love las vegas or los angeles, as someone commented before. It DID however heighten my awareness of what I thought was only an aspect of my work. I thought I was just as concerned with ACTUAL historic spaces (as evidence by my long time obbession with france and french history)but I came to realization that I wasn't concerned with this at all, an was much more interested by the fake american appropriation of historial styles. Im not saying this is a new idea, I mean baudrillard said it all 40 years ago. Just because I love making paintings doesnt mean Im inventing everything Im interested in. I don't know any painters that do, ie work in a complete vaccume of other painters and other ideas. Not that the idea of "this isnt original" isn't valid, but I don't see the point. I dont think that anything is wholly origninal. the idea of originality sounds very cliche and outdated to me. but hey, what do i know?? would love to discuss it.
maybe my sense of space is borrowed, i dunno. i take a lot of ideas from cinema, theater and interior design. as someone mentioned before, my mother was an interior designer, she designed the interiors of private jets in the 1970s for the sultan of brunei, and others. the images of them are so amazing that i cant bring myself to paint them!! they are too perfect.

I am not sure what you mean about "contemporary space". Being away from america for an extended period of time really heighten my sense of "american space". I'm from dallas texas, where everything is big and fake. I dont thinak that i had completely owned up to my feelings about this in my work until it was taken out of my life. there's nothing like that in france, well, maybe versailles. you really take the fake italian decoration in olive garden for granted!!
mostly, I am interested in decadence, and how this is reflected in our society, esp the manifestations of this decadence in our space. not just interiors, i have done many outdoor garden and pool paintings as well.
I will be the first to admit that i dont have everything figured out in my painting, but i thtink that is the fun part. If I had the answer to everything, why bother keep making work?? each time i make a painting, i learn something new. and yes, i am young. does that make me a bad painter? i hope not. All I can hope for is to be able to keep making paintings, keep getting better, and learning more.
ps- thanks kelli!

Anonymous said...

ps- sorry for retarded spelling mistakes!!

Cooky Blaha said...

ps @ rosson, if it wasnt clear I do like this painting, thanks for coming on

Anonymous said...

ad3pt, i like your spirit, painitng is rad!!

no-where-man, you are real funny...

Thousand Points of Light said...

Thanks RoCrowco for the insight.

I see your pt. of being removed from a specific place in order to understand your relationship to that place in new ways.

Thinking about alienation from place, if you have not had a crack at it, you may find Anthony Vidler's "Warped Space: Art, Architecture, and Anxiety in Modern Culture". Also, Norman Klien's "The Vatican to Vegas: The History of Special Effects" and especially his great take on LA and cinema and place- The History of Forgetting: Los Angeles and the Erasure of Memory.

Best of Luck. I'll have my eye on your work.

heidilolatheayatollah said...

Hi Rosson,
If you're still here-I was blown away by your show, so much so that I can't even describe as you may tell from my blathering on above !
my questions are a bit pedestrian- but I'm curious-

And I was wondering if you could share your method of how you put the image on canvas-do you draw/project it and then paint or do you go in more freehand wet on wet and then start the shapes?
Also do you paint from collaged images?

3)Do you organically add and make changes as you go along? Or do you have a clear idea of what you want the painting to look like and execute it accordingly?

I ask because it was not a straightforward painting by any means, and it reached the next state beyond the technical-

You really created such a sublime space and mood, I consider you a true artist, and thanks!!

heidilolatheayatollah said...

Oops meant to put in the 1 and 2.....

heidilolatheayatollah said...

oh and do you consciously think about the mood you want to project?

Or would you say it happens on it's own?

For Instance, a few of them had a heavy ominous feel, all foreboding like--

and others felt a bit like a swinging party where everyone left abruptly, and you're left standing there with an empty drink and an awkward fading smile.

thanks again!

Anonymous said...

thousand points of light- vidler is one of my favorites! i found 'warped space' very influential on my work, not to mention 'architectural uncanny'. I also LOVED 'vatican to vegas', an amazing book! Harbison has written great books on the perception of space as well.
OK heidilolatheayatollah,
As for how I start the image, I make many drawings, all pretty shitty and sketchy, mostly just for compositional reasons. Then I draw onto the canvas with canvas, usally freehand, but sometimes I use a projector for certain pieces of furniture. Then I just go at with paint, working pretty fast and letting things develop as they may. The paintings never turn out as I planned, which for me, is kind of exciting. The actual painting of an image doesn’t take me that long. I hate fussy and over worked paintings. For me, the process of making a painting is one of exploration and fun.
Do I think of the mood I want to project? Sometimes I do, and other times it just happens on its own. Ultimately, I think that whatever ive been reading or thinking about lately comes out in the work, i.e. vidler and poe means spookier, ‘learning form las vegas’ chintzier or jane austen subtler. Does that make any sense?

Anonymous said...

*draw on canvas with pencil* silly

heidilolatheayatollah said...

Oh yes, that makes sense.

You see-- I really respond to painters who use the paint in conjunction with their idea, I can really feel the paint setting up the artifice of the scene, but on your own terms. Quite like a stage set builder but in paint--and using your painterly instincts--stroke by stroke, drip by drip.

Paint as a metaphor upholding the fascination with the idea itself. I hope that makes sense?

I look forward to your future work!

Painter said...

Hi Rosson Crow,
Thanks so much for coming on. I really appreciate it. Congratulations on your show.

zipthwung said...

goodnight moon
Goodnight room.

Anonymous said...

no prob painter- thanks for puttin' up my work!

camron said...

As someone said before my father was a crack cocaine dealer in the 1970's. He sold crack to Rick James. I'm really interested in the implications of crack use during pregnancy and how it effects today's artists. Retardation is really interesting and I think it is flagrantly understated in the contemporary art scene. But as Keith Haring said CRACK IS WACK

zipthwung said...

My parents read books. Fucked me up 4 life.

zipthwung said...

what a mind fuck

kalm james said...

Man they didn’t have crack in the 70s, you had to “free-base.”

no-where-man said...

just noticed this is still going

thx for the AESTHETIC REASONING. i am a fan of decadence, Vegas and New Money. - but really who's paintings are "figured out" that seems like something one would want to avoid having happen.

On VH1's "40 Dumbest Celebrity Quotes" they sited whitney houston as the source of the "crack is wack" quote... i was like has no one involved been to the Harlem River Park? It really should read "Crack is Back"

best of luck with the vampires.

closeuup said...

on that we agree KJ!

zipthwung said...

I thought keith haring invented crack.

Well, people look and people stare
Well, I don't think that I even care
You work your life away and what do they give?
You're only killing yourself to live.
Killing yourself to live.
Killing yourself to live.

Just take a look around you what do you see?
Pain, suffering and misery.
It's not the way that the world was (planned/meant).
It's a pity you don't understand.
Killing yourself to live.
Killing yourself to live.

I'm telling you believe in me,
Nobody else will tell you
Open your eyes and see the lies, oh yeah

Smoke it - get high!

You think that I'm crazy and baby I know that it's true
Before that you know it I think that you'll go crazy too

I don't know if I'm up or down,
Whether black is white or blue is brown,
The colors of my life are all different somehow
Little boy blue's a big (gun/girl) now

So you think it's me who's strange,
But you've never had to make the (chain/change)
Never give your trust away,
You'll end up paying 'till your dying day

Anonymous said...

bitterness rules!!!

zipthwung said...

I don't need a seance
I don't read grey lines
I signed it away
way long
I hate, slow songs

whoa yeah,
I don't even care
whoa yeah,
I go over there

my hair is,
real long
no brains
or braun
no shoes
just thongs,
I hate, slow songs

whoa yeah,
you cry like I care
whoa yeah,
buck naked and there...

hooray, hooray for you
hooray, hooray for you
hooray, hooray for you
hooray, hooray for you
hooray, hooray for you
hooray, hooray for you

no-where-man said...

- no bitter from me i love decadence(and live in a disco), Vegas (go at least once a year) and New Money (when i get it thats what i will be)

and crack is back.

zipthwung said...

They told you in school about freedom
But when you try to be free they never let ya
They said "it's easy , nothing to it"
And now the army's out to get ya
Sixty nine America in terminal stasis
The air's so thick it's like drowning in molasses
I'm sick and tired of paying these dues
And i'm finally getting hip to the American ruse

I learned to say the pledge of allegiance
Before they beat me bloody down at the station
They haven't got a word out of me since
I got a billion years probation

Sixty nine America in terminal stasis
The air's so thick it's like drowning in molasses
I'm sick and tired of paying these dues
And i'm sick to my guts of the American ruse
Phony stars, oh no! crummy cars, oh no!
Cheap guitars, oh no! Joe's primitive bar... nah!

Rock'em back, Sonic !
The way they pull you over it's suspicious
Yeah, for something that just ain't your fault
If you complain they're gonna get vicious
Kick in the teeth and charge you with assault
Yeah, but i can see the chickens coming home to roost
Young people everywhere are gonna cook their goose
Lots of kids are working to get rid of these blues
cause everybody's sick of the American ruse

Well well well , take a look around !
Well well well , take a look around !
Well well well , take a look around !
Well well well , take a look around !
Well well well , take a look around !

zipthwung said...

yeah yeah yeah
whoo whoo whoo
yeah yeah yeah
whoo whoo whoo

[Verse 1:]

Wanna give it up, wanna beef it up, wanna make it beg for more
Gotta keep it clean, you little meat-machine,
cause it's the only only thing you got
gotta make it last, sign an autograph, get it ready to get it on
you gotta wipe it clean get that magic sheen


So wipe it till it bleeds
yeah yeah yeah
wipe it till it bleeds
whoo whoo whoo

[Verse 2:]

It's your golden toy make it make some noise
you gotta make it cream
such a shiny dream you gotta check the seam
got my Scandinavian leather on
never let it dry or it'll fucking die
you gotta let it breathe
gotta stretch it out gotta flex(?) it out
work the baby all night long, work the baby all night long
all night long
see the young lord looking so very good
he rode down to the village just like i knew he would
such a lusty little hipster he takes what he wants
subcultural greed. he's a boy of many needs
and now right now


Wipe it till it bleeds, you gotta keep it clean (till end)

painterofpainters said...

ok, since the boy wants it.
we have seen this type of work from Mamma Andersson not so long ago. she was using very same technique, but in much more intelligent fashion. her work had not just design elements but also content- and very nicely twisted.

the only thing to add, go uptown and take a look at Max Ernst at Helly Nahmad Gallery, great work from great artist, for some reason nobody makes much noice about- probably because great art sells without it.

zipthwung said...

No. Mamam anderson is more anal. Less improved. Sure the subject matter is the same, women experiencing space for the very first time, but its different.

But maybe I have the wrong Mamma Andersson - how many are there? Sweden. Yeah. I know their feelums well.

Max ernst huh? Its a long trek maybe ill go stag.

zipthwung said...


Anonymous said...

So this thread continues... (even kelli phones in).

As for how I start the image, I make many drawings, all pretty shitty and sketchy, mostly just for compositional reasons. Then I draw onto the canvas with canvas, usually freehand, but sometimes I use a projector for certain pieces of furniture. Then I just go at with paint, working pretty fast and letting things develop as they may. The paintings never turn out as I planned, which for me, is kind of exciting.

Thanks for that info Rosson. I had thought the plumes and fumes were overlays, braids of different armatures, stuff like that. That they are part of the intuitive journey greatly adds to the paintings' voracity. It's hard to tell these days how an artist pulls a painting together, except with what you see (for me often only as a jpeg).
I think it still pretty true that whatever it takes is the important element. That is takes little more than getting in there with the work, fresh, working visually instead of over theorizing and over conceptualizing is as exciting as ever for painting.

I doubt if anyone is bitter more putting out some humor and a personal climate rain-dropping in an effort to communicate. That's why it's fun coming by.

no-where-man said...

stageing interventions into the social structure.

zipthwung said...

shark oil

Anonymous said...

"personal climate rain-dropping in an effort to communicate"

haha, its all good... i like it.