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

Elizabeth Glaessner "All this happened, more or less"


Dates:
Wed Jul 09, 2014 18:00 - Fri Aug 15, 2014

Location:
New York, New York
United States of America

Elizabeth Glaessner

All this happened, more or less

July 9th—August 15th, 2014
Opening Reception: Wednesday, July 9th, 6-8pm

P.P.O.W is pleased to present an exhibition of new work by Elizabeth Glaessner, the artist’s first solo exhibition in New York City. Glaessner’s paintings take elements from traditional history painting and re-contextualize them in a distinctly intimate and otherworldly voice. An exploration of memory, personal history and ritual, Glaessner’s work questions the way in which we relate to and envision our past. Her most recent paintings depict a highly detailed mythology of post-human existence on earth that features anthropomorphic, gelatinous figures in familiar, yet toxic, landscapes. These organic creatures appear as if born from natural forms, like tree trunks and rock formations, in attempt to reconstruct lost histories through the detritus left behind.

Using pure pigments dispersed with water, acrylics and oils, Glaessner creates a beautifully saturated and intricately layered world through various painting techniques that recall the materiality of works by Marlene Dumas and Dana Schutz. The rich media creates illusory qualities that accentuate the amorphous nature of her subjects and their surroundings.

Glaessner combines familiar objects with misunderstood and idiosyncratic portraits, often laden with humor that counterpoint her macabre imagery. Like the landscape paintings of Caspar David Friedrich and El Greco, the forms and figures of Glaessner’s world blend together in an attempt to display a malleable reality. The paintings contain serial imagery of animals and objects considered to be sacred in her post-human world—trees, water, donkeys, boats, and treehouses. Landscapes with mountain peaks, boulders and beaches are shown melding with their inhabitants in fascinating ways, creating an uncanny image of something the viewer recognizes but cannot place.

Elizabeth Glaessner was born in Palo Alto, California in 1984 and grew up in Houston, Texas. After receiving her BA from Trinity University in 2006, she moved to New York and completed her MFA at the New York Academy of Art in 2013. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013, a residency at GlogauAIR Berlin in 2013 and a residency at the Leipzig International Art Programme in 2012. She has been included in group exhibitions in New York, Texas and Germany and has recently been featured in Berlin ArtParasites, Whitewall Magazine, and LUUPS Munich and Leipzig.


OPPORTUNITY

TONY ORRICO: Performances and Opening Celebration at P.P.O.W


Deadline:
Tue May 27, 2014 12:00

Schedule of Performances:
May 27th, 12-10pm, prepare the plane
May 28th, 6-9pm, /Vessel for Governing and Conception/

Opening Reception: Thursday, May 29th, 6-8pm,
Accelerated Image: Yvonne Rainer's Hand Movie (1966)

P.P.O.W is pleased to present our first exhibition of performances, artifacts and bilateral drawings by artist, Tony Orrico. Since 2008, he has been exploring his own bodily symmetry, combining his experience as a dancer and visual artist to inform the enduring durations and actions of his work. In Petrified Acts, Orrico uses his body as a vehicle to create work through timed manipulation of graphite, a surface and space; guided by inherent physical impulses that manifest into visible forms. The exhibition will be preceded by two public performances from his CARBON series. On May 27th from noon to 10pm, Orrico will perform prepare the plane, where he will endure an exhausting marathon of imprinting the edge of paper with his teeth. On May 28th from 6 to 9pm he will perform /Vessel for Governing and Conception/, an exploration of the polar aspects of the body Orrico maps out the flow of Yin and Yang using loose graphite. In addition, Orrico will perform with his partner, dancer Melinda Jean Myers, Accelerated Image: Yvonne Rainer's Hand Movie (1966) during the opening of Petrified Acts, May 29th from 6 to 8pm.

Orrico has been presented and exhibited in the US, Australia, France, Germany, Mexico, the Netherlands and Spain. His visual work is in the permanent collections of The National Academy of Sciences (Washington DC) and Museo Universitario de Arte Contemporáneo (MUAC) in Mexico City, as well as prominent private collections. He has been presented at New Museum (NYC) and Poptech 2011: The World Rebalancing. As a former member of Trisha Brown Dance Company and Shen Wei Dance Arts, Orrico has graced such stages as the Sydney Opera House, Teatro La Fenice, New York State Theater, and Théâtre du Palais-Royal.


EVENT

Robin F. Williams: Sons of the Pioneers


Dates:
Thu Feb 13, 2014 15:05 - Sat Mar 15, 2014

Location:
New York, New York
United States of America

P.P.O.W is pleased to present Robin F. Williams’ second solo exhibition at the gallery entitled Sons of the Pioneers. Through a series of paintings Williams challenges the roles of American masculinity and traditional portraiture by replacing the idyllic female, or odalisque, with romanticized scenes of men in various states of idleness. The narratives depicted circle around an inverted version of manifest destiny wherein men abandon their conquests and choose stillness, allowing the next frontier to be an inward quest. Through various painting techniques and a neon palette, Williams drapes each figure with mixed identities that mask traditional signifiers of purpose and patriarchy in order to construct a new and sympathetic masculine mythology.

Williams presents each portrait from her position as the “other,” using the tondo as a strategy to reinforce the voyeuristic, peeping nature of the artist’s gaze. In the works Hunter, Astronaut, Onlooker and Sun Hat Sunset, she adorns each male with ornamental hats and accessories, allowing them to reflect sensibilities not typically associated with the male portrait. In these works, Williams repeats patterns and foliage so to weave her subjects together while consciously shifting her treatment of the paint to simultaneously create a sense of individualism for each character. Using external props, some self made and others her own clothing, Williams is able to further reflect the subject’s sense of a shared identity, complicating the concept of otherness.

Sons of the Pioneers continues Williams’ exploration of psychological portraiture and marks a departure from her depiction of children, which was the focus of her previous exhibitions. It is evident in these works that Williams’ painting techniques have continued to develop alongside her expanded subject matter. Within these works Williams draws resemblance from the innovative mark making of post-impressionist Georges-Pierre Seurat, to the paintings of Mary Cassat that re-cast the role of women over a century ago, to the psychedelic pallet of nineties graphic designer Lisa Frank.

Robin F. Williams was born in Ohio in 1984 and currently lives and works in Brooklyn. She received her BFA from the Rhode Island School of Design. She has been included in numerous exhibition in New York and California. Williams has been honored as the Josephine Mercy Heathcote Fellow at The MacDowell Colony and the 2010 Brooklyn Academy “Playbill Artist.”


EVENT

Jessica Stoller: Spoil


Dates:
Thu Jan 09, 2014 18:00 - Sat Feb 08, 2014

Location:
New York, New York
United States of America

P.P.O.W will present an installation of sculptures by Jessica Stoller, which will be our first solo exhibition with the artist. In Spoil, Stoller uses clay and the grotesque as a vehicle to explore the constructed, often idealized world of femininity, gathering imagery across cultural lines and histories, often fixating on the subjugation of the female body. Porcelain is her primary media, a historically weighted material that is inevitably linked to desire, mystery and consumption. The sculptures in Spoil spill out of decorative materiality into the Rococo maximalist mentality of pageantry, pomp and artifice that are often overlooked as frivolous ploys. Through the synthesis of the symbolic female, culturally, historically and bodily, Stoller allows feminist language to expand within her work leaving room for subversion, defiance and play.

Stoller uses a myriad of techniques to create her highly detailed works. First, hand-building the porcelain forms and incorporating porcelain slip, or liquid clay to coat fabric which burns away through controlled firing, leaving draping lace and flesh-like fabric ribbons. Stoller’s knowledge of the medium allows her to manipulate the clay creating a wide-range of effects: piped cakes, dripping syrup and rows of spikes and interlocking chains undergo multiple firings to develop each richly colored surface. The resulting works embody a powerful sense of oppositions which blur the lines between real and imitated, normal and abnormal, perceived beauty and the bodily abject.

The installation is comprised of sculptures ranging from tabletop scaled busts to elaborate multi-piece works. In the center of the gallery Stoller presents a large still life that is reminiscent of French grand dining practices of the 18th century, when porcelain replaced sugar sculptures, becoming essential in creating lavish table decorations of allegorical and mythological themes. Stoller’s tableau seduces the viewer into its bountiful tiers of carnal illusions where nipples become macaroons. The intricate assemblage pays homage to religious and historic iconographies (16th century Vanitas paintings, Marie Antoinette’s breast cup) and contemporary semiotics of abject hands stuffed with lace and adorned with long curling embellished nails, oversized anime eye pendants and silver plated hybrid antlered skulls. Stoller’s work is grounded in dual appearances; mobilizing our vision of the grotesque in opposition of contemporary societal controls that still plague the feminine body.

Jessica Stoller was born in Michigan in 1981 and currently lives and works in Brooklyn, NY. She received her BFA from the College for Creative Studies, and an MFA from Cranbrook Academy of Art. Stoller's work has been reviewed, in such publications as The New York Times, Ceramics: Art and Perception, and N. Pandora Feminist Journal, among others. She has been included in recent exhibitions at Greenwich House Pottery, NY; Wave Hill, NY; Fuller Craft Museum, MA; and Nurture Art, NY. Solo show venues at Hionas Gallery, NY; and The Clay Studio, PA. Stoller has been honored to participate in residencies including the Kohler Arts & Industry Program, WI and The Museum of Arts and Design’s Open Studio Program, NY. A recent Peter S. Reed grantee and a Louis C. Tiffany Nominee, her work is also included in numerous private collections.


EVENT

Dotty Attie: The Lone Ranger


Dates:
Thu Nov 21, 2013 18:00 - Sat Dec 21, 2013

Location:
New York, New York
United States of America

P.P.O.W will present an installation of new paintings by Dotty Attie, which will be our ninth solo exhibtion with the artist. Since the 1970s, Attie’s multi-panel compositions have explored gender identity, politics, and culture through the re-imaging of well-known paintings and photography. This new group of paintings, based on an assortment of found photographs, are rendered in her signature palette of black, white, and grey highlighted with touches of flesh tones. In this series Attie turns her attention to the iconic actions of the popular heroic figure The Lone Ranger. In an attempt to un-mask this legendary American folk icon, Attie presents a host of images which suggest an alternate reality to the constructed version we are so accustomed to through television and film. With her recombinative process Attie makes power visible through the use of subtly subversive paintings and carefully composed text.

Lined up horizontally on the wall, these sequences of canvases create sentence-like structures reminiscent of scenes from a film. Each one portrays an image pertaining to The Lone Ranger and our expectations of his success. In the work “Masked Men” Attie paints portraits of a series of male figures -- including baseball catchers, hockey players, batman, soldiers, and deep sea divers – all wearing an appropriate mask. The accompanying text tiles reveal: “Many tried to emulate the masked man’s success, but few were able to capture the public imagination.” Looking at the viewer, these masked men appear both ominous and ridiculous.

In other works, Attie continues to delve into the American radio show culture and early televison as another work states, “The Lone Ranger was always to be found wherever assistance was needed.” Attie accumulates images of violence: electric chairs, shootings, crashes, and other portentious scenarios documenting American history through photography and film noir. Again, Attie’s benign texts are juxtaposed with the violent and erotic images provided by a cultural heritage producing a seductive but disturbing experience.