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

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.


EVENT

Sky is Falling: Paintings by Julie Heffernan


Dates:
Thu Oct 17, 2013 18:00 - Sat Nov 16, 2013

Location:
New York, New York
United States of America

P.P.O.W is pleased to announce Sky is Falling, our seventh solo exhibition of work by Julie Heffernan. Heffernan’s new paintings explore various levels of societal chaos, environmental catastrophes and humankind’s role as nature’s keeper. The figures are heroically determined to gather and collect elements of a world that is falling apart leaving only time to answer if, and when, the bag will drop.

Writer Rebecca Solnit in her essay “Dandelion Clocks and Time Bombs” further explains that Heffernan’s “paintings are her testimony in a language more immediate than words to the fires, to the falling, to the disorder, to the anxious mix of fear and hope, and to our stance as complicit witness.” However, the figure in the painting Self Portrait as Catastrophic Failure is anything but complicit as she perches high in a canopy, battling flames that are engulfing a city which has been contained in a net bag. Her hands are full, one with a hose and the other with a set of scissors, like weights in a scale, contemplating whether it is best to cut the burning city loose or fight the fire. Simultaneously, the woman’s eyes are fixed on an icy dwelling, situated on a branch above her that appears to be melting. Within this painting, Heffernan reveals the delicate nature of what humankind can save and what is already lost.

In Sky is Falling, Heffernan presents what Solnit describes as a “new kind of history painting” which extends beyond the known traditions of landscape paintings. All of these works remark on the nature of human society, the cycles of life and the possibilities of renewal through preservation of iconic treasures, traditions and cultures. Her new paintings carry heavy histories of the past as they try to valiantly reshape the future.

Julie Heffernan was born in Peoria, Illinois. She was raised in Northern California and currently lives in Brooklyn, New York. She received a BFA at the University of California, Santa Cruz and a MFA from Yale School of Art in 1985. She is currently a professor at Montclair State University in New Jersey.

Heffernan’s work is included in many national and international collections and has been exhibited continuously over the last three decades. She has received numerous prestigious recognitions including fellowships from the New York Foundation for the Arts, the National Endowment for the Arts and the Fulbright-Hayes and residencies at MacDowell Colony and Skowhegan School of Painting and Sculpture. She was inducted into the National Academy Museum and was highlighted as the Guest Artist for the Brooklyn Academy of Music; she was the Commencement Speaker for the Pennsylvania Academy of Fine Arts (2010) and was included in an American Academy of Arts & Letters Annual Exhibition. Her work is in the collections of The Mint Museum, NC; the Weatherspoon Art Gallery, NC; The Progressive Corporation, OH; the Virginia Museum of Fine Art, VA; the Zabludowicz Art Trust, London; the Olbricht Collection, Berlin and Damien Hirst’s MurderMe, London. Her work has been included in the Kwangju Biennial, Korea and in exhibitions at the Tampa Museum Of Art, FL; Knoxville Museum Of Art, TN; Columbia Museum Of Art, SC; Milwaukee Art Museum, WI; The New Museum, NY; The Norton Museum, FL; Kohler Arts Center, WI; The Palmer Museum Of Art, PA; McNay Art Museum, TX; Herter Art Gallery, MA and the Oklahoma City Museum of Art, OK.

A traveling retrospective of her work, accompanied by the eponymous catalogue Everything that Rises, was organized by the University Art Museum, University of Albany (Albany, New York) in 2006. A traveling show entitled Sky is Falling is currently at the Palo Alto Art Center and later in the year will travel to The Crocker Art Museum in Sacramento, CA. Her work has garnered critical attention in numerous publications including Artforum, Art in America, ARTnews, and The New York Times.


EVENT

Opening of SKINTRADE: an in-depth look at the surface of things


Dates:
Thu Jun 27, 2013 14:20 - Sat Jul 27, 2013

Location:
New York, New York
United States of America

P.P.O.W is pleased to present Skin Trade, an exhibition curated by Martha Wilson and Larry List that explores the use of skin as a subject or metaphor in art. The exhibition encompasses thirty-one artists of varying generations, with works that span from Joan Semmel’s Intimacy – Autonomy and Ana Mendieta’s Sweating Blood, 1974 to the work of Elana Katz, Color Me Clear and Robin Williams, The Artist as Future Self, 2011.

In slang, the term “skin trade” refers to “any or all aspects of the burlesque, exotic dance, pornography or prostitution industries.” However, when taken in parts, “skin – trade” can imply many types of exchanges - often intimate and almost always dealing with beauty, identity, mortality, or eros. Grouped according to these four designations and displayed throughout the gallery, the works of Skin Trade speak to the creative potential behind this surface of initial contact. Through photography, sculpture, paint, and video, the included artists address the potential impact of skin; what it means when focus is drawn to this meeting place between a person and the rest of the world.

Skin may be displayed, offered, or denied in return for affection, pity, acceptance, or love. Skin can be offered to show vulnerability or defiance. Skin may be enhanced in hopes of attaining greater beauty, social privilege, or advancement. It may be otherwise altered to fit in, camouflage, disguise, or even disappear for survival’s sake. Taken to extremes, skin can be distorted to create an entirely new identity. It is both a cliché and a durable truth that “first impressions are lasting ones,” and so it is of no surprise that the artists of Skin Trade continue to use this surface as a form of creative expression.

In recent years, Neo-burlesque performance, as a conduit of self-expression and empowerment, has been fueled by heightened interest in performance art, identity, gender, and queer studies. Parallel programs of live performances by Xandra Ibarra (aka la Chica Boom) at Wild Project Theater and by Jo Weldon and friends, of New York School of Burlesque, are being planned to accompany the exhibition.

Many thanks to collaborators and lenders: Alexander Gray Associates, NY; Betty Cunningham Gallery, NY; Brooklyn Museum, NY; Clampart, NY; Eli Klein Fine Art, NY; Galerie LeLong, NY; Gallery Paule Anglim, CA; Georgia Scherman Projects, Inc., Toronto; Invisible Exports, NY; LA Louver Gallery, CA; The Robert Mapplethorpe Foundation, NY; New York School of Burlesque (Jo Weldon); Salon 94, NY; Sean Kelly Gallery, NY; The Studio Museum, NY; Stux Gallery, NY; Xandra Ibarra; The Wild Theater Project, NY.

A catalog essay by Larry List and illustrated checklist will be available as a free, downloadable PDF @ ppowgallery.com


EVENT

Opening of Carolee Schneemann's "Flange 6rpm"


Dates:
Sat May 11, 2013 00:00 - Sat Jun 22, 2013

Location:
New York, New York
United States of America

Reception: Saturday, May 11, 6-8pm

P·P·O·W is pleased to present Carolee Schneemann’s fourth exhibition at the gallery entitled Flange 6rpm. Originally a painter, Carolee Schneemann is a pioneer of extended media, from her explorations of 'geometry of motion' in Lateral Splay, 1963, the provocative group performance Meat Joy, 1964, her self-shot erotic film Fuses, 1965, and the meditation of solitary movements in Up To and Including Her Limits, 1973-76.

Upon entering the gallery the viewer is immersed in the projected foundry fires of Schneemann’s latest multi-sensory installation, Flange 6rpm. Seven motorized sculptural units; containing hand-sculpted components are uniquely, cast in aluminum from a lost wax process. The aluminum sculptures are not polished, but maintain a rough textured sill marked from the fire of the foundry. The sculptural units are each mounted on a motorized base which moves them at six revolutions per minute – slowly, side to side, as well as forward and back – in a continuous motion so that the sculptural elements are almost touching, creating a sense of tension and unpredictability.


EVENT

Portia Munson, "Reflecting Pool"


Dates:
Thu Apr 04, 2013 12:05 - Sat May 04, 2013

Location:
New York, New York
United States of America

P•P•O•W is pleased to present Portia Munson's fourth exhibition at the gallery entitled Reflecting Pool. Munson continues to employ photography, sculpture and installation to form interconnected works that examine the relationship of the natural to the artificial. Munson's work is a record of this moment in time as she observes the changes to her local environment and the impact that cars, roads and buildings have on natural places and wildlife.

Upon entering the gallery the viewer is immediately immersed in Munson's world by a series of still life memento mori hanging on photographic wallpaper of oversized dandelions. Munson creates these images by scanning flowers and creatures from her garden and surrounding woods and roadsides. Formally inspired by the structure of the flowers, Munson slices into buds, pulls blossoms apart and layers them onto one another, creating mandala-like compositions that in eastern religions represent the universe. These images conjure the ephemeral nature of the botanical along with its innate utopian beauty.

While moving through the gallery one comes upon an above-ground pool containing thousands of found plastic objects in all shades of blue. This is Munson's latest installation, Reflecting Pool, which literally presents a flood of plastic. Each piece represents the millions of discarded multiples that have been rapidly accumulating and polluting our world. The color blue ironically represents clean clear water, sky and air, yet in reality these objects are trash the artist collected from roadsides, streams and landfills. Reflecting Pool, as in Munson's earlier installations, Pink Project, The Garden and Lawn, is a meditation on how mass consumption defines society and its effects; a reminder of how rapidly plastic objects are produced, consumed and discarded to then spend the majority of their synthetic existence as waste, leaving nature to wage the long-fought battle of decomposition in landfills and ocean gyres.


Portia Munson
was born in Beverly, MA in 1961 and currently lives and works in Catskill, NY. She holds a BFA from Cooper Union and a MFA from Rutgers University. She has also studied at the Skowhegan School of Painting and Sculpture. Her work has been exhibited throughout the United States and internationally in such venues as The New Museum, New York, NY; MASS MoCA, North Adams, MA; The Pennsylvania Academy of Fine Arts, Philadelphia, PA and The Museum of Contemporary Art in Helsinki, Finland. Her work has been reviewed and written about in many publications including The New York Times, Harper's Magazine, Art in America, Newsweek, USA Today, The New Yorker, Flash Art and Artforum. Munson has recently completed a MTA, Arts for Transit Public Art installation at the Fort Hamilton Parkway Station in Brooklyn, NY. In April, P.P.O.W will be showing a selection of Munson's work at the AIPAD photography fair in New York City. A limited edition silk scarf will be produced in conjunction with this exhibition.