P.P.O.W
anneliis@ppowgallery.com
Works in New York, New York United States of America

BIO
P·P·O·W was founded by Wendy Olsoff and Penny Pilkington in the first wave of the East-Village Art Scene in New York City in 1983. In 1988 the gallery moved to Soho and in 2002 moved to Chelsea. P·P·O·W maintains a diverse roster of national and international artists.

Since its inception, the gallery has remained true to its early vision, showing contemporary work in all media. There is a commitment to representational painting and sculpture and artists who create work with social and political content.
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EVENT

Timothy Horn "Supernatural" Opening April 23 at P.P.O.W


Dates:
Thu Apr 23, 2015 18:00 - Sat May 23, 2015

Location:
New York, New York
United States of America

Timothy Horn

Supernatural

April 23 – May 23rd, 2015
Opening Reception: Thursday, April 23, 6-8 pm

P.P.O.Wis pleased to present Supernatural, a solo exhibition by Timothy Horn. Concerned with the intersection of the natural and the man-made, Horn has developed a practice that centers on borrowing forms found in nature to reinterpret decorative objects. This exhibit continues Horn’s investigation of the relationship between the organic and artificial, turning an eye to both the beauty found in nature and the way in which we have inextricably altered our environment.

The exhibition’s title refers to the original definition of supernatural: that which is not subject to the laws of physics, or exists above and beyond nature, which Horn sees as an apt description for how we navigate contemporary life – living beyond our means, at the expense of the natural world. Horn conceives of his exhibition as a 17th century wunderkabinett, a room filled with curiosities appropriated from the natural world, including authentic specimens, scientific phenomena, and sometimes fictitious mythological creatures. Supernatural offers a contemporary context for highlighting some of the challenges facing our environment – a wunderkabinett for an environment under duress.

For the past decade, Horn has been inspired by two primary sources: 17th-century jewelry patterns by Gilles Legaré, court jeweler to Louis XIV, and 19th-century studies of natural organisms such as lichen, coral, and seaweed, as found in the zoologist Ernst Haeckel’s book Art Forms in Nature. With this exhibition Horn draws on the creative spirit and flair for embellishment of both Legaré and Haeckel to create a body of intricately crafted, ornate, sculptural works using blown glass, cast lead crystal, and various metals. Horn has magnified Baroque hair ornaments and earring forms, replacing the ornate details and stonework with forms made to look like crenelated lichen and gorgonian coral fans.

Among the works on view will be Gorgonia 4 (Fukushima Fan Dance) and Gorgonia 6 (Bikini Atoll), large-scale recreations of jewelry patterns made out of nickel-plated bronze. The spine of the jewelry pattern has been replaced with gorgonian coral forms, dripping with baroque pearls of mirrored blown glass. Both works refer to real-world events. Gorgonia 4 takes its title from the Fukushima disaster, where contaminated water poured into the Pacific Ocean. Simultaneously referencing the tradition of Japanese fan dance, a delicate and highly practiced routine, Horn equates this with the precarious line that we walk with our natural environment. Gorgonia 6 refers to the island of Bikini Atoll where the U.S. performed nuclear tests. Horn conceives of this piece as a deity of the coral atoll, its forms radiating like shock waves. Also on view will be three Tree of Heaven works, which are composed of the forms of crenelated lichen. Lichen live in the filaments of fungus, developing a symbiotic relationship with their host, which makes them particularly sensitive to pollution and climate change. The title, Tree of Heaven, refers to the Chinese tree of the same name, known for its ability to thrive in difficult environments. Through this work Horn reflects on the natural beauty found in our world, and his pervading optimism for our environment.

Horn will also exhibit Mother-Load (2008), a three-quarters scale recreation of a baroque carriage encrusted in crystallized rock sugar, originally created for his exhibition Bitter Suite at the de Young Museum in San Francisco. The work will be accompanied by Self Portrait of Peter the Great (2010), which Horn created in collaboration with painter Julie Heffernan, depicting a lone figure surrounded by what appears to be mass slaughter or extinction.

Timothy Horn was born in Melbourne, Australia. He studied Sculpture at the Victorian College of the Arts and Glass at the Australian National University. In 2002 he received a Samstag Scholarship and moved to the U.S., where he completed his graduate work at Massachusetts College of Art. Horn's work has been the subject of solo exhibitions at the de Young Museum, San Francisco, SJ ICA, San Jose, and Lux Art Institute, Encinitas. His work has also been featured in major group exhibitions including at the Andy Warhol Museum, Pittsburgh, the Museum of Arts and Design, New York, GoMA, Brisbane, and the National Gallery of Australia, Canberra.

This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body.


EVENT

Ann Agee "Domestic Translations" Opening March 20, 6-8pm


Dates:
Fri Mar 20, 2015 18:00 - Sat Apr 18, 2015

Ann Agee

Domestic Translations

March 20 – April 18, 2015
Opening Reception: Friday, March 20, 6-8 pm

P.P.O.W is pleased to present Domestic Translations, an exhibition of new work by multi-media artist Ann Agee. Drawing on manifestations of home, Agee creates installations that explore notions of interior life, material culture, feminism and personal history. Interested in investigating the limitations of appropriation, mimicry and manufacturing, Agee employs familiar motifs – from household objects to modernist architecture – that she at once subverts, infusing them with her own personal and familial narratives.

Among the works on view will be two installations of Agee’s hand painted wallpaper, one featuring a recreation of the home of the British neoclassical architect John Soane, and the other depicting the interior of her parents’ home in Japan, which echoes the childhood house in which she was raised. The eclectic and highly stylized Soane house stands in contrast to the carefully balanced 50’s modernist, Minge-influenced interior, offering two visions of domesticity, one formal and one functional. Together, the two large-scale works provide the framework for the exhibition, inviting visitors to encounter the sculptural ceramic works on view.

Agee challenges our definition of craft through elevating utilitarian objects to the level of artwork – in taking a frame, vase or plate, for example, and turning it into a ceramic sculpture. Many of the works are stamped with Agee Manufacturing Co., a signature of sorts, exemplifying Agee’s desires to replicate, copy and mimic pre-existing forms; the stamp creates a mirage that the work is a multiple and not unique when in fact, replicated or not, all of Agee’s works are unique. This play between art, material and function, is a constant point of exploration for Agee, and much of her work playfully tows the line between object and artwork, form and function, handmade and readymade.

Many of Agee’s works meditate on the traditional role of women in the house, and the way in which they construct and influence an interior. Agee has created a series of opulent vases, floral mirrors, and abstract standing sculptures, which will be interspersed with welded steel chairs. Variously referencing 1930s decorative arts, Rococo ornamentation, mid-century modern and abstract sculpture, the works offer an astute alternative to appropriation.

The exhibition will explore notions of cultural appropriation through the lens of travel, commenting on the way in which traveling is an extension of the domestic sphere – a short break away from the home. Agee has created guidebooks to her exhibition in six languages: Swedish, Somali, Punjabi, Tamil, Bulgarian and Korean. While traveling herself, Agee became inspired by the commerce of a “place” through souvenir shops and stands, which offer their own cultural critique, free of curatorial restraints. Scattered about the gallery, pieces on view will be large and small scale, some in blown glass containers, fabrics, perfume bottles, and tiny replicas of her own works that collectively act as souvenirs from the residue of memories.

A recreation of Agee’s ceramic installation, Lake Michigan Bathroom (1992), will be on view, last seen in New York at the New Museum in 1994 in the Bad Girls Show curated by Marcia Tucker. In its original conception the work was made of industrial cast vitreous china, now it is made of porcelain, stoneware coils and slabs, which reinstates Agee’s interest in replicating by hand industrial techniques to further explore how culture venerates objects that are replicated and reproduced.

Ann Agee lives and works in Brooklyn. She has had installations at the Brooklyn Museum of Art, NY and the Philadelphia Museum of Art, PA, and her work has been included in notable ceramics exhibitions, including Dirt on Delight, Institute of Contemporary Art, PA and the Walker Art Center, MN, and Conversations in Clay, Katonah Art Museum, NY. In 2011 she was awarded the John Simon Guggenheim Fellowship, and has also been the recipient of The Louis Comfort Tiffany Foundation Award and a National Endowment for the Arts Fellowship, among others. Her works are included in the permanent collection of notable institutions including: The Brooklyn Museum of Art, NY; The Philadelphia Museum of Art, PA; The RISD Art Museum, RI; The Los Angeles County Museum of Art, CA; The Henry Art Museum in Seattle, WA; The Kohler Art Center in Sheboygan, WI; and The Museum of Contemporary Art in Miami, FL.


EVENT

Anton van Dalen "The Avenue A Cut-Out Theatre"


Dates:
Sat Feb 28, 2015 18:30 - Sat Feb 28, 2015

P.P.O.W is pleased to present a performance of Anton van Dalen’s Avenue A Cut-Out Theatre in conjunction with his current one person exhibition of new work.

Van Dalen uses a portable model of his house as a staging ground for telling the story of the East Village. Employing a rotating selection of miniature cut-outs, stencils and props, Van Dalen narrates the history of the neighborhood from the 1970s (when he moved to Avenue A) until the present. The performance centers on Van Dalen’s Avenue A rooftop pigeon coop he has nourished for more than 25 years (http://www.antonvandalen.com/live-stream.html); a source of pride for Van Dalen who began raising pigeons as a child in the Netherlands. There he flies a flock of white pigeons that circle around the storied tenements that housed generations of immigrants, like himself, witnessing the neighborhood’s gradual gentrification.

Avenue A Cut-Out Theatre was first performed in 1995 at the University Settlement House on the Lower East Side and toured throughout the United States and Europe. The performance has been shown at numerous institutions including The Drawing Center, the Museum of Modern Art, and The New York Historical Society.

The performance and exhibition will be complimented by a solo booth, at ADAA’s The Art Show, of Anton van Dalen’s 1970’s and early 80’s graphite drawings and stencils. The corresponding installations and performance act as a retrospective for the East Village and, on a larger level, serve as a reflection of the changing nature of inner-city life.

Doors will open at 6:30pm and the performance will begin at 7:00pm. Space is limited.

Anton van Dalen was born in 1938 in Amstelveen, Holland and lives in New York City. He has been included in group exhibitions at notable institutions including the: Whitney Museum of American Art, New York; New Museum, New York; Contemporary Art Center, Cincinnati, and the New York Historical Society. He has also been the subject of solo exhibitions at: Temple Gallery, Tyler School of Art, Temple University, Philadelphia; University Gallery, University of Massachusetts, Amherst; and Exit Art, New York.


EVENT

Anton van Dalen "New Works and the Avenue A Cut-Out Theatre"


Dates:
Fri Feb 13, 2015 18:00 - Fri Feb 13, 2015

P.P.O.W is pleased to present an exhibition by Anton van Dalen, the artist’s first show with the gallery and first solo exhibition in eight years. Since 1972 Van Dalen has lived in the East Village, documenting the ever-changing culture of the neighborhood through paintings, drawings, prints, stencils, collage works and performances that captured the evolving history of the place.

Van Dalen immigrated to the United States from Holland in 1965 and was captivated by the vibrancy, violence and cultural diversity of his neighborhood. As a child Van Dalen was influenced by the European Masters from Rembrandt to Van Gogh, as well as contemporary artists like Saul Steinberg, who took as subject matter their quotidian surroundings. Drawing on their practice as a source of inspiration, Van Dalen took to the streets, documenting the people and landscapes that surrounded him, creating a body of work that reads as a social and cultural documentation of one of New York’s most dynamic neighborhoods.
For Van Dalen this practice was more than just a creative process, it was a social and political directive as well. Van Dalen named his house PEACE, brandishing it with a stenciled sign that remains in place today. He collaborated and worked alongside artists like Sue Coe, David Wojnarowicz, Martin Wong, and Keith Haring, who believed fervently that artists had to leave the studio for the streets to reflect on the issues plaguing the city and to take a stand against gentrification and related inequities.

The exhibition at P.P.O.W will feature new paintings by Van Dalen that present the now largely gentrified East Village populated with upscale bars, fast food restaurants, and well-heeled women. While Van Dalen’s works do not aspire towards Photorealism, they do seek to create an accurate documentation of place, combining an imaginative aesthetic that features abstracted humans, skeletal animals and dramatically angled buildings, set against carefully detailed street signs documenting a specific place at a particular moment in time.

Van Dalen’s depiction of a changed East Village is reflected in a shift in color palette, media and texture as well. Interested in mirroring what he describes as “the colors of our time,” his most recent body of work forgoes his black and white nightscapes in favor of a palette that mimics the light of flat screens, cell phones and computers. Despite this shift, much of the iconic imagery that has shaped Van Dalen’s formal vocabulary remains. His works are peopled with rabbits and pigeons – symbols of nature that recall his early days in Holland – as well as cars and religious institutions that have formed the backdrop of his East Village works for decades.

Van Dalen will also exhibit, and perform, his work Avenue A Cut-Out Theatre, a portable model of his house, which he uses as a staging ground for telling the story of the evolution of the East Village. This one-man show incorporates a rotating selection of miniature cut outs and props that each contain a story about the neighborhood from the 1970s until the present. This performance has traveled throughout the United States and Europe, and has been performed at The Drawing Center and the Museum of Modern Art.

The exhibition will be complimented by a solo booth, at ADAA’s The Art Show, of the artist’s 1970’s and early 80’s graphite drawings and stencils. Taken together, the two installations act as a retrospective of sorts for the East Village and, on a larger level, serve as a reflection of the changing nature of inner-city life.

Anton van Dalen was born in Amstelveen, Holland and lives in New York City. He has been included in group exhibitions at notable institutions including the: Whitney Museum of American Art, New York; New Museum, New York; Contemporary Art Center, Cincinnati, and the New York Historical Society. He has also been the subject of solo exhibitions at: Temple Gallery, Tyler School of Art, Temple University, Philadelphia; University Gallery, University of Massachusetts, Amherst; and Exit Art, New York. Avenue A Cut-Out Theatre has toured since 1995 both nationally and internationally, and has been shown at numerous institutions including The Drawing Center, the Museum of Modern Art, and The New York Historical Society.


EVENT

Bill Smith "Synthetic Bio Structure" Opening at P.P.O.W January 10 6 - 8pm


Dates:
Sat Jan 10, 2015 18:00 - Sat Feb 07, 2015

Location:
New York, New York
United States of America

Bill Smith

Synthetic Bio Structure

January 10 – February 7, 2015
Opening Reception: Saturday, January 10, 6-8 pm

P.P.O.W is pleased to present an exhibition of work by Bill Smith. Smith, who has a degree in both sculpture and micro-biology, uses his knowledge of science not only as a basis for inspiration but as his media as well. While artists since the Renaissance have used scientific ideas to create masterpieces, Smith uses actual techniques of the scientific and natural world to create sculptural assemblages that draw on the intricate systems and inherent beauty found in nature. Taking scientific laws and principles as a guiding form, Smith has created a highly aesthetic visual language that he uses to create complex, often mechanized, sculptural works that bridge the gap between art and science.

P.P.O.W’s exhibition will feature a new body of work by Smith, including a series of small sculptures made out of metal and steel springs, along with large-scale models made out of carbon fiber and 3-D printed material. While appearing to be geometric, these elaborately crafted works, created using a complex molecular inspired building system that Smith recently patented, in fact contain no straight lines and have the potential to create an infinite variety of shapes and structures.

The development of this patent, and these works, reflects Smith’s ongoing exploration of smart materials – responsive materials that are able to reconfigure their physical properties based on contact with outside influences – and are thus ever changing. The assemblages that will be on view represent a selection of modules that he has proposed in his most recent patent, and are all meant to have the capacity to change shape and mimic living organisms.

The exhibition will also include Smith’s uniquely designed projector, which throws the image of a large scale exoskeleton of a dragonfly in high definition, allowing visitors to interact with an insect they would otherwise be unable to see. While science has been known to objectify, and even exploit, the natural world, Smith constructs assemblages whose structural workings derive from natural principles to elucidate our appreciation of nature and its beauty. Thus Smith’s work acts a bridge, not only merging the gap between science and art, but between science and nature as well. Taken as a whole, Smith’s videos and mechanisms derive from an interest in bio mimicry – the process of using solutions found in nature to resolve problems concerning humans, and his ongoing desire to expose viewers to the ways in which the complexities of the natural world can be translated into interpretations of our own collective ecologies.

Bill Smith holds a BS in Science, a MFA in sculpture and a technical degree in Diesel Mechanics. His work has been exhibited at: The Chicago Cultural Center, Chicago; White Flag Projects, St. Louis; The Forum for Contemporary Art, St. Louis; the 5th Biennale de Montreal, Canada; The St. Louis Art Museum, St Louis; the Fabric Workshop and Museum, Philadelphia; the World Chess Hall of Fame, St. Louis; and The Cleveland Institute of Art, Cleveland. In 2015 Smith will have a solo exhibition at the Mattress Factory in Pittsburgh and the Figge Art Museum in Davenport, Iowa.