Skarstedt is pleased to announce Late America, an exhibition of new paintings by Eric Fischl, will open at the Chelsea gallery on May 2, 2017, and remain on public view until June 24. In these major works, Fischl continues his exploration of moral ambivalence and social malaise against a suburban backdrop. Here, the backyard swimming pool serves as a stage set for a variety of personal dramas that can scale up to reflect a society in crisis. The titular painting echoes our precarious times. A young boy draped in the American flag examines a crumbled male, while two immigrant day laborers passively mine the landscape in the foreground. This is a striking depiction of a fractured nation divided not only by class, ethnicity, or political affiliation, but by the hope, potential, and desire for connection embodied by the small child, and the depressed paralysis of the older man, presumably his father. Painted in the immediate aftermath of the 2016 presidential election, Late America is response to a moment marked by bewilderment and incomprehension. That said, it would be insufficient to read the work, or the exhibition, as a political statement. Politics is simply another outcropping of cultural terrain that Fischl has mined for nearly four decades. In his ambitious canvases, long considered a hallmark of contemporary figurative painting, he creates a tense world of both comfort and portentous ambiguity. In low-lit suburban bedrooms, on speedboats and beach towels, in art fairs, the figures act out cryptic psychological and social dramas akin to the stories of John Cheever and John Updike, or the films of Mike Nichols and Robert Altman.