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.
Discussions (0) Opportunities (1) Events (28) Jobs (0)

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

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.


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

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

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.


George Boorujy "Passenger" at P.P.O.W, Opening November 6th, 6-8pm

Thu Nov 06, 2014 18:00 - Sat Dec 20, 2014

New York, New York
United States of America

George Boorujy


November 6 – December 20, 2014
Opening Reception: Thursday, November 6, 6-8 pm

P.P.O.W is pleased to present Passenger, an exhibition of new work by George Boorujy. The exhibition will expand upon Boorujy’s ongoing exploration of North America through a series of strikingly life-like, ink on paper depictions of animals native to this continent. Drawing on the longstanding tradition of artists and naturalists composing highly realistic renderings of life on earth, Boorujy creates works that advance this practice, imbuing his subjects with human-like expression and encouraging a relationship between the work and the viewer.

Intrigued by the division that has emerged between humans and their natural surroundings, Boorujy has created a series of large-scale drawings that re-evaluate the way in which we see animals and encourage us to grapple with the impact that we have on our environment. Taken together his works represent an exploration of what North America has come to represent and how we fit into our contemporary landscape.

With Passenger Boorujy turns his eye to the notion of movement, transference, and the changes that followed in the wake the Columbian Exchange. After 1492, the landscape, animals, and people of North America were forever altered, with some species prospering while others were wiped off the face of the earth. Through his work Boorujy overturns traditional perceptions of animals, imbuing his subjects with totemic status and, through unlikely pairings and unexpected positioning, compels the viewer to pause and reconsider them anew.

The subjects featured in the exhibition include a number of animals whose fate has been largely determined by the human population. Among the works on view will be three drawings of Passenger Pigeons. 2014 marks the 100 year anniversary of the extinction of this bird. Once the most numerous bird on the planet, its demise not only marked man’s impact on the planet, but also has the notorious distinction of being the first recording of an extinction in real time. Also on view will be a large-scale image of a horse, caught in a state of ecstasy on the ground. Horses evolved in North America but went extinct on their home continent before being reintroduced by the Spanish. Another species whose fate was dramatically altered by the human hand.

Two images of humans will also be included in the show, a portrait of a woman whose ethnicity is intentionally obscured, and a portrait of Ota Benga, a Mbuti Pygmy man brought to the US for the St. Louis fair in 1904. Benga, born in the Congo and dying by suicide in Virginia, had a tragic yet unprecedented life infamously marked by being displayed for a time at the Bronx Zoo alongside a chimpanzee and orangutan, the implication being that he was less than human. The fact is that we all are, ultimately, animals.

A catalogue will be published with color reproductions and an essay by Debora Kuan in conjunction with the exhibition.

George Boorujy was born in 1973 and raised in New Providence, New Jersey, and lives and works in Brooklyn. He attended the University of Miami intending to study marine biology. However, his art courses soon over-took his science concentration earning him a B.F.A in painting in 1996. After graduation he traveled North America eventually landing back in New York City where he studied at the School of Visual Arts, receiving his M.F.A in 2002. Boorujy has exhibited in the U.S. and abroad.


Adam Putnam

Thu Sep 11, 2014 18:00 - Thu Sep 11, 2014

New York, New York
United States of America

P.P.O.W is pleased to present the gallery’s first exhibition with New York-based artist Adam Putnam. For the last ten years, Putnam’s practice has steadily evolved out of an interest in live actions that employ the body as a vehicle for exploring the intersection between our physical selves and the architectural space that we inhabit. Putnam often uses his own body as the starting point for this exploration, merging his figure with architectural forms or contorting himself in an effort to supplant the physical elements of a space.

For this show Putnam will be exhibiting an array of drawings, sculptures, and photographs that incorporate the principles of performance to investigate the correlation between interior and exterior space, a geometry that is easily understood as the relationship between bodies and architecture. In addition Putnam will exhibit a series of short videos entitled Reclaimed Empire (Deep Edit), 2008-2014, a selection of short films from an ongoing series comprised of over 60 fragments and short works. Putnam explains that “the original title, reclaimed empire, initially an overt nod to Warhol’s ‘Empire,’ speaks less about homage, and more to the notion of a constant return to repeated subject matter – a gaze that never leaves, that stares un-blinkingly – mechanically – at the same subject. This was my Empire, comprised of whatever was on hand in my studio, sculptural fragments, broken mirrors, architectural models and other detritus.“ Putnam's use of repeated imagery has accumulated into distinct sections: Reflections, Set Pieces, Landscapes, Architectural Thresholds, and The Veiled. His subject matter reveals itself through the building of these distinct sections exploring the boundary between the physical self, architecture, and environment, often using one as a stand in for the other.

Putnam furthers this investigation through a collection of black and white photographs that depict live action projects and a selection of large-scale drawings. Taken together the works evince Putnam’s interest in exploring the human-like aspect of seemingly stagnant architecture forms, and the way in which the body can be used to navigate space and alter the way in which we perceive our surrounding environment.

While Putnam employs a diverse array of media, he regards his practice as an organic and interactive collection of works that influence and inform one another. Each of Putnam’s works, from his videos to his drawings, are grounded in a physical, central point that is essential for creating the illusion of perspective, and from which the action or movement that each piece contains is derived. A selection of imagery is repeated throughout his work as well, from the obelisks that populated his earlier work, to the more recent Piranesi-style crypts that will be on view at P.P.O.W. For Putnam, rather than signify specific architectural spaces, these images are intended to provide a means for investigating a particular perspective, a concept central to his work, while also providing a visual vocabulary that connects his multi-media practice, allowing him to learn about and expand upon each medium through the exploration of another.

Putnam’s work has been included in various exhibitions worldwide, most notably: the Whitney Biennial, New York (2008); the 2nd Moscow Biennial, Moscow (2007); and the Busan Biennial, South Korea (2008), as well as shown at notable institutions, including MoMA PS1, New York (2007) and The Astrup Fearnley Museum, Oslo (2005). Curatorial projects have included an exhibition of Martin Wong entitled Everything Must Go at P.P.O.W (2009) and Blow Both of Us at Participant Inc. (2007). Recent projects include solo exhibitions at Locust Projects, Miami, (2012) and at Artpace, San Antonio (2013).


Elizabeth Glaessner "All this happened, more or less"

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

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.