Works in New York, New York United States of America

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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Hunter Reynolds: Survival AIDS Medication Reminder

Thu Sep 10, 2015 18:00 - Sat Oct 17, 2015

New York, New York
United States of America

P·P·O·W is pleased to present an exhibition of new work by Hunter Reynolds. For over twenty five years Reynolds has been using photography, performance and installation to express his experience as an HIV positive gay man living in the age of AIDS. He was an early member of ACT UP, and in 1989 co-founded Art Positive, an affinity group of ACT-UP to fight homophobia and censorship in the arts. His work addresses issues of gender, identity, socio-politics, sexual histories, mourning, loss, survival, hope and healing. The exhibition at P.P.O.W will feature large-scale photo weavings, a new video work and a Mummification skin that together reflect Reynolds’ vision of himself, his community, and his role as a long-term AIDS survivor.


Anthony Iacono "Crudités at Sunset" Opening Reception

Thu Jul 09, 2015 18:00 - Fri Aug 07, 2015

New York, New York
United States of America

Anthony Iacono

Crudités at Sunset

July 9 – August 7, 2015
Opening Reception: Thursday, July 9, 6-8 pm

P.P.O.W is pleased to announce a one person show of works on paper and videos by Anthony Iacono. This is the artist’s first major solo exhibition in New York City. Iacono's painted cutout collage technique updates the art historical languages of pop art and representation to further explore the body and its relationship to objects. Quotidian objects are always the foundation for Iacono's works. Fruit, plants and curtains are reconfigured from their original functions to ones of adolescent curiosity and physical pleasure. Performative gestures interact with these objects and transform into furniture and mirror the architecture of a space. Caught in private moments of leisure and play, the subjects are posed in theatrical scenarios and frozen “still life” gestures that are heightened by a high-contrast palette and sharp graphic form. Stillness plays an important role in all of the works, the objects lock truncated body parts into place, arresting any motion from the submissive subjects.

Beckoning the viewer with a coloring book style and using shallow space and cropping to provide an intimate setting, the works are both alluring and erotic. Through the cutouts, Iacono invites the viewer into a world where a lemon is served with a shrimp cocktail that is expertly balanced on a man’s buttocks, but also references a familiar technique used in autoerotic asphyxiation – a bite of a lemon wedge wakes one up and thus prevents death. The fetishistic play is meant to have an absurd, humorous narrative in its campiness. There is a dual objectification of the body and an anthropomorphization of inanimate objects that amplifies the disquietingly erotic scenes.

Iacono's new videos, like the works on paper, invite the viewer to witness the playful and absurd nature of fetishistic play. In his film Grapefruit, a man in his underwear squishes a grapefruit fixed against a pink tiled shower wall with his torso, hips, butt and chest. The sound of the grapefruit exhausting its juices is both perverse and comical as the persistent subject relentlessly commits to squeeze the grapefruit dry.

Anthony Iacono was born in 1987 in Nyack, NY and currently lives and works in Brooklyn. He graduated from the School of Visual Arts in New York (2010) and attended the Skowhegan School of Painting and Sculpture (2013) and the Massachusetts College of Art and Design, Boston, MA (2007). He received the Robert M. Washburn Award for the Arts; Arts Council of Rockland Scholarship Award (2010). He has been included in group shows and project rooms in various Brooklyn and NY venues since 2009. In addition to collage and video, Iacono also creates sculpture and produces artist books.


Jessica Rohrer "Bloomfield" Opening Reception at P.P.O.W May 28, 6-8pm

Thu May 28, 2015 18:00 - Sat Jun 27, 2015

New York, New York
United States of America

Jessica Rohrer


May 28 – June 27, 2015
Opening Reception: Thursday, May 28, 6-8pm

P•P•O•W is pleased to present Bloomfield, our fourth exhibition with artist Jessica Rohrer. This exhibition continues Rohrer’s decade long project of depicting the homes and neighborhoods in which she has lived; from Wisconsin to Brooklyn to New Jersey. Bloomfield is comprised of twenty three new paintings and eighteen works on paper of interior settings, street scenes and garden views of her domestic suburban life derived from her immediate surroundings. Each exhibition, or chapter of her life, reflects her journey as she travels a road familiar to many. Rohrer tells a tale that is at first glance a picture book story of domesticity but upon closer look is ridden with a palpable sense of heightened anxiety.

Rohrer’s stylistic approach combines elements of traditional miniature paintings with photorealism. Her obsessive freehand rendering, seemingly photographic but hand painted from life and self-taken photographs, allude to the works of Jan van Eyck, Vermeer and other old masters whose technique challenge our credulity. The compositions of each painting also hint at more contemporary artists such as Thomas Demand and Jeff Wall, whose photographic re-enactments are realistic but disturbing in their “slightly off” feeling. Pop artists are also brought to mind in relation to Rohrer’s depiction of mundane and branded objects; stacks of books, toys, shelves of spices, craft boxes, cabinet doors and potted plants. Rohrer weaves through art history while accomplishing her seemingly humble biographical project.

Carefully manipulating each scene by emptying them of figures and detritus, Rohrer creates a sense of sanitized orderliness. Odd perspectives and tight cropping add to the anxious and ominous tone. Her precisely staged and meticulously painted vignettes balance that which is omitted and that which is rendered in painstaking detail. In this exhibit Rohrer ventures further afield than her own home, giving a glimpse of rooftops and neighbors’ yards which seem eerily similar to her own.

Jessica Rohrer (b. 1974) in Wisconsin. She graduated from Northwestern University (1996) and the Art Institute of Chicago (1999) and received her M.F.A. in painting from the Yale University School of Art (2001). She has exhibited in numerous exhibitions in the United States. She lives in New Jersey, with her husband and two young daughters.


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

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

New York, New York
United States of America

Timothy Horn


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.


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

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.