new-york

Peter Rostovsky

The Project

THE QUESTION AT THE HEART of Peter Rostovsky's recent work is one that haunts many artists: To what extent must a contemporary painter confront the medium's long-running critical dismantling? On the surface, Rostovsky makes use of a now-familiar brand of humor to, in essence, apologize for carrying on with a practice that has routinely been written off over the past few decades; the knowing wit that infuses his work conveys the requisite degree of skepticism toward the discipline. Yet such qualifiers cannot hide a serious attachment to technique, the very emphasis on craft that the parodic gesture aims to undermine.

For Rostovsky, it's all a matter of where you stand-in terms of both history and the gallery space itself. In the middle of the room was Anamorph, 2001, a seven-foot-tall steel column placed on a circular digital print of distorted snow-covered mountains. Reflected in the column's

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