"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.
"Drawing on Habit: An Ambition" Curated by Saul Ostrow and Lidija Slavkovic, Offsite project of Untitled Art Fair, Betsy Hotel, Art Basel Miami, Dec 5 - March 5, 2013.
"Permutation 3.3" P! Gallery, April 28 - June 9, 2013.
"X-tra," Lesley Heller Workspace, January 30 - February 9th, 2013.
The Blanton Museum of Art, Austin: June 23 - September 29, 2013.
Museum of Contemporary Art, San Diego: February 24 - May 26, 2013.
New Orleans Museum of Art: November 10, 2012 - January 27, 2013.
"Lifelike," Traveling: Walker Art Center, February 25 - May 27, 2012.
|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.