"Luxury and Kitsch,” an essay accompanying William Powhida’s “After the Contemporary” at the Aldrich Museum, published by The Stolbun Collection, March 2017.
"Ars Jupiter Calling," a piece of humorous illustrated fiction due out in the inaugural issue of Unbag, March 2017.
“Dear David: An Exchange,” republished in “Social Medium: Artists Writing, 2000–2015,” Paper Monument/N+1, November 2016.
"Fred Greenberg: Hell's Therapist," a piece of illustrated fiction in Issue 7 of Third Rail Quarterly. Click[HERE] for a PDF.
Piece on James Esber in the context of figurative painting in the Fall issue of Bomb Magazine, September 2016.
"The Cloud Come Down to Earth," an essay on Florian Meisenberg's work and digital media more broadly, published by Wentrup Gallery, September 2016.
Review of "Frank Stella: a Retrospective" out in issue 177 of Frieze.
"12 X 12 X 12," Black Ball Projects, Brooklyn, December 12 - February 2, 2016.
|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 also teaches in a number of art schools that have included MICA, UArts, The Cooper Union, NYU, Lesley University and Parsons New School.|
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.