Peter Rose

Since 1968, Philadelphia-based artist Peter Rose has made over thirty films, tapes, performances and installations. Many of the early works raise intriguing questions about the nature of time, space, light, and perception and draw upon Rose’s background in mathematics and on the influence of structuralist filmmakers. He subsequently became interested in language as a subject and in video as a medium and generated a substantial body of work that played with the feel and form of sense, concrete texts, political satire, oddball performance, and a kind of intellectual comedy. Recent video installations have involved a return to an examination of landscape, time, and vision.

Peter Rose has been widely exhibited, both nationally and internationally, having been included in shows at the Museum of Modern Art, the Whitney Biennial, the Centre Pompidou, the Philadelphia Museum of Art, the Film Society at Lincoln Center, and the Rotterdam International Film Festival. He has been awarded fellowships by the National Endowment for the Arts, the Guggenheim Foundation, the Pew Foundation, the Independence Foundation, and the Pennsylvania Council on the Arts.

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The Indeserian Tablets

(Peter Rose, 2011)

An annotated nocturnal portrait of a vanished culture- its stories, scripture, technology, religious practice, art and poetry as reconstructed from fragments found in the archive at Kiens. Offered in the...

Odysseus in Ithaca

(Peter Rose, 2006)

Odysseus moors his boat in an alien architectural machine, a labyrinth with echoes of De Chirico and Escher- a place of mystery and power where the rules of visual perspective...

The Gift

(Peter Rose, 1996)

The Gift, an audio drama, was commissioned by New American Radio and Performing Arts and was adapted from a serial bedtime story Rose told his daughter over a period of...

Secondary Currents

(Peter Rose, 1982)

Secondary Currents is a film about the relationships between the mind and language. Delivered by an improbable narrator who speaks an extended assortment of nonsense, it is an "imageless" film...

The Man Who Could Not See Far Enough

(Peter Rose, 1981)

THE MAN WHO COULD NOT SEE FAR ENOUGH uses literary, structural, autobiographical, and performance metaphors to construct a series of tableaux that evoke the act of vision, the limits of...

Incantation

(Peter Rose, 1970)

Using rapidly edited, superimposed images of plants, trees, water, the sun and the moon, Incantation weaves a dynamic tapestry of organic forms and textures, combining its images with a fierce...