Rosson Crow

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Night at the Palomino, 1984, 2007 84 X 84 In © Honor Fraser
Five Minutes Late and Two Bucks Short at the Cha Cha, 2007 90 X 132 In © Honor Fraser
Flower Shop at the Ambassador, 2007 96 X 120 In © Honor Fraser
Koenig House, 2007 96 X 120 In © Honor Fraser
Live in the Black Pussy, 2007 87 X 120 In (Diptych) © Honor Fraser
Neon Rodeo (Fast Horses, Cornfed Hogs, and Wild Women), 2007 90 X 132 In © Honor Fraser
Sunday Morning Comin' Down (6907 Lankershim), 2007 96 X 96 In © Honor Fraser
The Widow Garret's View of Deadwood, 2007 84 X 168 In © Honor Fraser
Buck Owen's Trophy Room, 2007 90 X 132 In © Honor Fraser
Night at the Palomino © Courtesy of Honor Fraser Gallery
Queens Butcher Shop, 1910, 2008 Oil, Enamel And Acrylic On Canvas 96 X 144 In. (243.8 X 365.8 Cm) © White Cube, Hoxton Square
© Courtesy of the artist and Galerie Nathalie Obadia
Jackie's Strength , 2011 Acrylic And Oil On Canvas 78 X 151 Inches © Photo Josh White
Stagger Lee's Lounge, Alabama, April, 2013 Acrylic And Oil On Canvas 238,8 X 180,3 Cm / 94 X 71 In © Courtesy of the artist and Galerie Nathalie Obadia
Concord Coach , 2005 Oil On Canvas 50 X 46 In. © Courtesy of the artist and Galerie Nathalie Obadia
Rococo Rodeo , 2005 Oil On Canvas 244 X 180 Cm © Courtesy of the artist and Galerie Nathalie Obadia
Ocular Maze Work, 2015 Acrylic, Xerox Transfer, Spray Paint, Oil And Enamel On Canvas 84 X 60 Inches © Courtesy of the Artist and Sargent's Daughters
Quick Facts
Dallas, TX
Birth year
Lives in
Los Angeles, CA
Works in
Los Angeles, CA
School of Visual Arts New York (SVA), 2004, BFA
Yale University
Representing galleries





Rosson Crow is celebrated for her exuberant large-scale depictions of nostalgia-laden interiors that blend historical allusion and theatrical illusion. The paintings evoke the good times of yesteryear, with lush interiors that are always deserted, yet speak eloquently — if obliquely — of recent use and inhabitation. The sense of loss is counterbalanced by the richness of textures, patterns, and references — and especially by vibrant, clashing colors, which display an irreverence to the subject-matter akin to the ‘80s soundtrack and Converse All-Stars of Sofia Coppola’s Marie Antoinette. The work also stands out for its hallucinogenic spaces, with interiors fracturing and distorting from realistic representation into abstraction and surrealism, and “teetering,” as she puts it, “between claustrophobic and agoraphobic.”


While Crow’s earlier work was often seeped in the decadent atmospheres of the faded aristocracy and absinthe bars of early modern Paris, taking from European styles such as Rococo, the recent work on show here takes as its basis the compressed, but equally rich history of the United States, and especially Los Angeles. The city’s heritage chimes with her interest in the American West, as well as in spectacle and illusion. Country music features in the show’s title piece, and film sets and the Wild West come together in The Widow Garret’s View of Deadwood. Crow also takes on the masculine spectacles and environments of rodeos, saloons, trophy rooms, boxing and the late Jason Rhoades’ Black Pussy soirées. Characteristically, she reimagines the interiors of the now demolished Ambassador Hotel, and flamboyantly embroiders on the truth in such pieces as Koenig House, adding a chandelier and bursts of pink and turquoise to the iconic modernist masterpiece.


Rosson Crow grew up in Texas, and studied at Yale and the School of Visual Arts in New York before serving a one-year residency at the Cité Internationale des Arts in Paris. Her work has been widely published, and exhibited in solo shows in New York (CANADA Gallery) and Paris (Galerie Nathalie Obadia) as well as in a number of group shows.


A new publication of Rosson Crow’s work, "Night at the Palomino," published by Honor Fraser, will be available at the gallery or from the website. It contains an essay by Norman Klein, who describes the work as “massively architectonic, very immersive, … like a Baroque castle inside a theme park, historical paintings inside a half-baked memory system, inside a desire that has been marketed, but never satisfied.”




2006    MFA, Yale University, New Haven, CT

2004    BFA, School of Visual Arts, New York



2008    Night at the Palomino, Honor Fraser, Los Angeles, CA (forthcoming)

2006    Hotel and Lounge, CANADA, New York, NY

2005    Galerie Nathalie Obadia, Paris, France

2004    Estate Between, CANADA, NYC



2007    Cabinet of Curiosities, The Journal Gallery, Brooklyn, NY

            Distinctive Messengers, House of Campari, New York, NY

            Accidental Painting, Perry Rubenstein Gallery, New York, NY

2006    The Garden Party, Deitch Projects, New York, NY

2005    Little Odysseys, Marianne Boesky Gallery, New York, NY

The Third Peak, Art Concept Gallery, Paris, France

2004    Yearning for Yours, SVA Gallery, New York, NY

Familiar Haunts, The Happy Lion, Los Angeles, CA

Majority Whip, White Box, New York, NY

Poets of Miniature, Office Ops, Brooklyn, NY

Mira, Mira, Look, Look, Visual Arts Gallery, New York, NY

2003    K48 Klubhouse, Deitch Projects, Brooklyn, NY



2006    Cite Internationale des Arts, Paris



2007    T.D. Neil, Jonathan, “Twenty-five Artists To Look Out For In 2007”, Art Review, March, Issue 9, p. 83

2006    Mendelsohn, Adam, “Rosson Crow”, Time Out NY, Nov. 30,  Issue 583

Franck-Dumas, Elisabeth, “Making History,” Vogue, March, p. 407-408

Conner, Justin, "Rosson Crow, Though She Seems All Rainbows and Sunshine, The New Artist's Work Will Make You Shiver", Interview, February

Leydier, Richard, ”Paris Review”, ARTPRESS, January

“Top 10 2005 Art”, Technikart, January

2005    Bernard Geneies, “Une Revelation Americiane”, ParisObs, November

Henri-François Debeilleux, “Rosson Crow Frappe Fort”, Liberation, November

2004    LaVallee, Andrew, “Young Artists Get Personal”, NY Arts, December

Olivier Cena, “Marche de Dupes”, Artchronique, November

LaRocca, Ben, “Art Review: Rosson Crow”, The Brooklyn Rail, November



Klein, Norman. Night at the Palomino. Los Angeles: Honor Fraser Inc., 2007

Flores, Tatiana. More Is More – Maximalist Tendancies In Recent American Painting . Florida: Museum Of Fine Arts, Florida State University, 2007

Mullins, Charlotte. Painting People: Figure Painting Today. New York: D.A.P.,2006

Grayson, Kathy. Rosson Crow. Paris: Galerie Nathalie Obadia, 2006





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