There is a vantage stage on the mezzanine cafe at MoMA in NYC where the encompassing Midtown skyscrapers engulf you. There are levels and levels of grey concrete and glass home windows that create a type of blurring of your depth notion as to what is in the foreground and track record of your eye. When I past observed this illusion, I thought of the is effective of Daniel Rich, who in his intricate process of layering and stripping absent on canvas results in an unbelievable flat impression of architectural complexity. He is flattening what is so rigidly substantive and major and thick. That is what makes his new demonstrate, Flat Earth, so beautiful. 

And this is wherever Prosperous commences his solo show at Miles McEnery, amongst the modernist properties in Midtown Manhattan, but with a blazing sunset of a palette placed on them. They are hypnotic and surreal, significantly more summary than his past operate that made a type of mimic of a skyline. This appears to be extra akin to highlighting the natural beauty of the composition of modernism, how impenetrable it feels, how frequent and everlasting the constructions are. As the gallery notes, “In this special up to date moment, when just about anything could come about subsequent, regular avenue sights and properties toe a tense line amongst banal and significant. In his latest entire body of do the job, Prosperous expands on his a long time-prolonged investigation into the means architecture bears witness to, reflects, and suggests underlying political narratives.”

I go back to that expression and what it implies to us now, how significantly it has advanced in excess of the earlier several yrs: permanence. Wealthy paints as if the structures we have developed will very last permanently, only shifting as a result of our skill to improve close to them. —Evan Pricco

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