PROW
ART IN GENERAL
79 Walker Street
January 22–March 20
PROW, Pyre (detail), 2010, aluminum, polyester, theatrical lighting, industrial fans, electric equipment, cello, violin, various technical parts, dimensions variable.
How might artists position themselves between entertainment culture and traditional techniques of representation such as drawing? How might those different possibilities map onto the display practices of commercial gallery venues or nonprofit art spaces? Peter Rostovsky and Olav Westphalen, collaborating under the name PROW, challenge conditions of spectacularization that entangle artistic practices, paradoxically by adopting elements of the most successful model of collective media production: cinema.
In “PROW: The Prequel,” the foyer of Sara Meltzer Gallery contains a series of light boxes displaying posters for sequels to nonexistent movies such as a slasher pic titled Pet II and the disaster flick Iceberg III (mischievously tagged MATTER HAS A MIND . . . ONCE MORE). Lining the main gallery’s walls are six watercolors appropriated from Google’s open-source 3-D modeling software. The drawings, each hand-rendered by one of the two artists, adopt an eclectic range of imagery conjured by wiki-culture’s anonymous users: a floating baby, a stunt actor hoisted aloft in a green-screen environment, a staged plane crash. The exhibition’s central kinetic sculpture, Pyre, 2010, is an agglomeration of B-movie gimmicks: As the lights dim, a dramatic chord is struck by a mechanized cello and violin, activating a phalanx of industrial fans that raise a curtain of theatrically lit fabric into a simulacral fire.
Replacing the gadgetry of Pyre, the central sculpture in the “Anti-Prow” exhibition at the nonprofit Art in General is a Tatlin-like monument consisting of an interlocking group of red ladders surrounded by walls papered with historic political and artistic manifestos. On each wall is a framed graphite drawing of an iconic public death scene (split along its vertical axis, with one side rendered by Rostovsky and the other by Westphalen): the bodies, lying in state, of Lenin and Mao, the corpses of Kurt Cobain and Che Guevara surrounded by police, and the victims of the Jonestown massacre. Like its Chelsea counterpart, “Anti-Prow” addresses a set of questions about the value of artistic labor—this time by taking up the legacy of political activism, and representations of politics, in the visual arts.
“Prow: The Prequel” is on view at Sara Meltzer Gallery, 525–531 West Twenty-sixth Street, until February 27.
— Eva Díaz
