"Untitled" Art-Fair, Kristen Lorello Gallery, Art Basel/Miami Beach, December 3 - December 7, 2014.
"We Should Talk to Each Other, the Cloud and I," Mary S. Byrd Gallery of Art Georgia Regents University, October 27 - November 21, 2014.
"The Morning After," Tyler Wood Gallery, San Francisco, CA., September 12 - November 8, 2014.
“Postscript to Neo-Modern” forthcoming in Golden Age, a book on contemporary abstraction edited by Christopher K. Ho and Marco Antonini.
Review of Sigmar Polke “Alibis: 1963-2010” in Frieze, Issue 165.
"Site/Displace," Kristen Lorello Gallery, July 21 - August 15, 2014.
"The Gold Standard," an essay on painting, value, and our new networked sphere in the Held Essays of the Brooklyn Rail (May, 2014).
Cover and Bomb-Specific feature in the winter issue of Bomb Magazine.
"Celebrate the New Dark Age," a text on ruins and the apocalyptic imagination, in print in the Third Rail and online in the Brooklyn Rail.
|Peter Rostovsky is a Russian-born artist who works in a variety of disciplines that include painting, sculpture and installation. Known for his atmospheric paintings that explore the sublime in the everyday, he is equally committed to conceptual and collaborative work. Rostovsky’s many diverse projects attempt to bridge the gap between painting and conceptual art while remaining attentive to painting’s material and discursive history and especially to its encounter with new technologies. His work has been shown widely both in the United States and abroad and has been exhibited at such venues as The Walker Art Center, MCA San Diego, The New Orleans Museum of Art, PS1/MOMA, Artpace, The Santa Monica Museum of Art, the ICA in Philadelphia, the Blanton Museum of Art, S.M.A.K. Museum, and a host of private galleries. In addition to his studio practice and writing, he currently teaches painting at New York University.|
Many of my writings are under the heteronym David Geers. This separation allows for a mode of inquiry that is distinct from my artistic practice and pushes the latter into new areas of thought and production. As a persona and writerly vehicle, Geers's voice is as different from mine as Mark Twain's was from that of Samuel Clemens. Rather than seeking some future reconciliation (of the familiar artist-as-writer self-advocacy), they are meant to stand in a productive tension, each interrogating and testing the assumptions of the other. Please find these and other writings atspinninggeers.tumblr.com.