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

Earth WORKS: Ten Artists on Land and Industry


Dates:
Thu Jun 28, 2012 18:00 - Fri Jul 27, 2012

Location:
New York, New York
United States of America

Blue Curry, Untitled, 2010, Car tire and beans, 24" x 24" x 8"


Curated by Anneliis Beadnell and Stuart Morrison

Opening Reception: Thursday, June 28, 6-8pm

P.P.O.W. is proud to present ten artists in the current exhibit Earth WORKS. In a series of different reactions and interventions the artists present their exploratory vision, contributing to the contemporary discussion of our changing environment and how we interact with our surroundings.

Throughout history humans have recorded their environment and in turn used these observations to both analyze the past and to form ideas of a future. George Boorujy's massive depiction of a bison, Bellow Black Diamond, and The Institute of Critical Zoologist’s photo of a slumbering Iriamondi Cat poised in a developed salt mine; use the plight of a single creature as a symbol for a wavering environment alienated by industry.

Images are spliced together, objects placed and ideas are merged to depict ‘Earth’ in a variety of majestic and intimate forms. Industrial concrete crashes against a photograph of an ephemeral landscape in Letha Wilson’s Altogether at Once while utilitarian functions are lost and symbolic reverence is suggested through the bean covered tires of Blue Curry's, Untitled.

Within this reworking and transformation layers of information are created, erased and overwritten, establishing visions of society that are situated between the unknown and the familiar. Uncanny histories and narratives are formed in The Sentinel by Colette Robbins, Jess Littlewood's After the Battle and Gary Colclough's Elsewhere Elsewhere, all of which discuss the fragility of the earth and, indeed, our own brief passage across its changing face.

Works by Micah Ganske and Viktor Timofeev speak of aspirational futures and how technology continues to enlighten our surroundings. Bill Smith’s installation, Graphyne, speaks of a world where our biological existence melds with our mechanical and electronic creations. Through these visual interventions, utopian and dystopian ideals challenge the desire for innovation in a technology that is both eco-friendly and sustainable for prospective communities.

Through the many manifestations of documentation, specific histories and potential futures, visions are formed that act as timely metaphors toward the evolution of our relationship with land and industry. The artists in Earth WORKS show how the desire to intervene and examine these relationships simultaneously illuminates the casualties of the present while igniting a promise for the future.

George Boorujy (lives and works in Brooklyn, NY; represented by P.P.O.W, New York); Gary Colclough (lives and works in London, UK); Blue Curry (lives and works in London and Nassau; represented by toomer labzda, New York); Micah Ganske (lives and works in New York; represented by RH Gallery, New York); The Institute of Critical Zoologist (lives and works in London and Singapore); Jess Littlewood (lives and works in London); Colette Robbins (lives and works in New York); Bill Smith (lives and works in Illinois; represented by P.P.O.W, New York); Viktor Timofeev (lives and works in London; represented by Hannah Barry Gallery, London); Letha Wilson (lives and works in Brooklyn, NY).


EVENT

Teun Hocks: Recent Works


Dates:
Thu May 24, 2012 17:45 - Sat Jun 23, 2012

Location:
New York, New York
United States of America

P.P.O.W is proud to present Teun Hocks’ ninth solo exhibition with the gallery. Through these Recent Works, the Dutch artist expands his body of constructed imagery with fourteen photographic works that flex his mastery of process while narrating actions of futility and possibility.

Hocks’ photographic paintings are tedious with layers of production that reveal the enduring patience of the artist while challenging the acute eye of his viewers. He begins each work by constructing a scene in his studio with the help of various props (i.e. ladder, books, and briefcase). Setting a timer on his camera, he jumps in to the scene. Then by hand Hocks paints the gelatin silver print with layers of transparent oil paint; creating a muted palette akin to Dutch still life painters Jan Weenix and Willem van Aelst. The final works operate as a bridge between the traditional process of photography and painting.

In these scenes Hocks positions himself amidst the psychological and philosophical struggles of everyday life; constructing narratives that contain the artist's tragic wit and comedic humor. Hocks' love of graphic novels helps to inspire the construction of his work. For example, in his Untitled (crossroad) we find Hocks confronted with a choice of paths and instead, his reaction is to dig himself into the proverbial hole.

Teun Hocks was born 1947 in Leiden, Holland and started taking photographs at fourteen years old. From 1966-70, he studied at Academies Sint Joost, in Breda, where he continued to live and began painting his photographs at twenty-six. In 1980, Hocks started to teach drawing at the Design Academy in Eindhoven, combined with teaching photography at the Rietveld Academy in Amsterdam (from 1991 - 2000). In the early nineties Hocks moved to Breukelen and in 1991 he joined P.P.O.W. He has exhibited internationally for twenty years. There are many publications of his work including the Teun Hocks monograph published through Aperture in 2006 with an essay by Janet Koplos and also The Late Hour a monograph published by De Geus with an essay by Donald Kuspit published in 1999. His work is included in museums and private collections and has been reproduced in major publications worldwide.


EVENT

Hunter Reynolds "Butur"


Dates:
Thu Apr 19, 2012 17:20 - Sat May 19, 2012

Location:
New York, New York
United States of America

P.P.O.W is proud to present Butur, Hunter Reynolds’ first solo exhibition with the gallery. This exhibition will include his current projects and an installation of his work from the 1990’s when he performed extensively as his now legendary alter ego, Patina du Prey. For over twenty years Reynolds has been using photography, performance and installation to express his experience as an HIV positive gay man. His work addresses issues of gender, identity, socio-politics, sexual histories, mourning, loss, survival, hope and healing.
Butur is Mongolian for cocoon and is the place in which the internal shaman is transformed and reborn. For the last three years Reynolds has been creating shamanistic fire rituals on a sacred Mohawk site at the Easton Mountain Retreat Center in upstate New York. Reynolds has created three ritual art making sites: The Beading Tree, The Art Tent and The Ash Field which are centered around a sacred Fire Pitt. During celestial celebrations and purification ceremonies, often with participating guests of the retreat, Reynolds creates elaborately decorated Totem fire alters made of fallen trees that are adorned with offerings. According to Mongolian tradition, once the offerings are burnt, the devotees are cleansed. Currently exhibited is a Totem fire alter that has been recently burnt in a ritual that Reynolds has carved and sealed with glitter.
Using the remnants of the charred tree trunks, glitter, ash and burned objects, Reynolds furthers his mythopoetic iconography with a series of colorful totem collages, glitter masks and mandalas. Inspired by his deep connection to the cycles of nature, native rituals and the spiritual subconscious, Reynolds creates these artworks to explore their healing capabilities.
Also exhibited will be a selection of iconic photographs from I-DEA, The Goddess Within, a historic collaboration of the performance art of Patina du Prey and documentary photography of Maxine Henryson. Their work together spanned 8 years and 25 performances done all over the world. During the years of the collaboration Reynolds’ diagnosis was a pending death sentence making the photographs a moving and poignant record of the years before HIV drugs were available. Patina existed as a mythical figure that deliberately disrupts gender icons in order to relate to the viewer as a shamanistic transgendered embodiment of fantasy and healing. Patina’s “Mourning Dress,” adorned by strips of photographed flowers appears as if ascending towards the heavens and marks the loss of Reynolds’ close friend to the AIDS virus.
Hunter Reynolds was born in 1959 in Rochester, Minnesota. Hunter Reynolds has been the recipient of many grants and residencies, including several Pollock Krasner awards. He has had numerous solo exhibitions including: Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; Participant Inc., New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; NGBK Berlin, Germany; and DOCUMENTA, Kassel, Germany. He has been included in group exhibitions at the New Museum of Contemporary Art, New York, NY; Santa Monica Museum of Art, Santa Monica, CA; Aldrich Museum of Art, Ridgefield, CT; Akademie der Kunste and Kunst-Werke in Berlin, Germany and more. The Fales Library and Special Collections/New York University recently acquired the archives of Hunter Reynolds for its Downtown Collection.


EVENT

George Boorujy: Blood Memory


Dates:
Thu Mar 15, 2012 18:05 - Sat Apr 14, 2012

Location:
New York, New York
United States of America

P.P.O.W is proud to present "Blood Memory," George Boorujy's second solo exhibition with the gallery. In his expansive and finely observed drawings, Boorujy uses a trained naturalist's eye to depict iconic North American animals and landscapes, presenting an intriguing vision of life on the continent that is at once foreign and familiar.

Since Paleolithic times we have used animals, not only for survival, but for symbolic and ritualistic purposes. Tracing a line from the cave paintings of Lascaux up to and through Audubon, there has been an impulse and desire to depict and understand animals. Though firmly rooted in scientific fact, the posturing of the animals in Boorujy's work separates him from the traditional renderings of wildlife. These are not just observations of animals, but reckonings with them. The black doe in his work Blood Memory, has taken on a humanistic guise, functioning as a reminder of our own place within the animal kingdom.

These impeccably and immaculately painted portraits awaken our curiosities about each animal's reality and emotional mapping. The narratives, which are first sculpted and then painted with ink, reveal intimate scenes of nature that are contextually surreal. In the exhibited work Initiate, a descending ram is doused with pollen. Whether it is by human hands as part of a ritual or by chance is not clear. These embedded details, which are subtly placed throughout Boorujy's work, provide clues to the context of each animal's life, routines and experience.

Boorujy challenges the viewer to confront both the animal and their preconceived notions about it. Through their gaze an interaction evolves with the wild that otherwise would have to be sought out or birthed from happenstance. However fleeting our exchanges with the wild are, an impression of their presence marks our memories. There is something mystical at play; a silent exchange that either moves us towards awareness or heightens our fear of the unknown.

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.


EVENT

"Night Falls," Walter Martin & Paloma Muñoz


Dates:
Thu Feb 09, 2012 15:35 - Sat Mar 10, 2012

Location:
New York, New York
United States of America

P.P.O.W is pleased to announce “Night Falls,” its eighth exhibition featuring the collaborative work of Walter Martin & Paloma Muñoz. Martin & Muñoz are an art team best known for their “Travelers” series of snow globes and photographs. In the world that they have developed, blizzard transformed landscapes often serve as backdrops for enigmatic narratives. These are in some instances angst-dream inspired. Others are hard times fables. There is a socio-political as well as a psychological aspect to these images and sculptures. As is often the case with this couple's work, the narratives have an unfinished open ended quality.

For this exhibition, Martin & Muñoz have chosen night as a back drop. Fires, flashlights and moonlight puncture the dark to expressive effect. Important details and aspects of the narratives are lent a dynamic chiaroscuro where the interplay of light and dark shape both the mood and contour of the subject. Some of the images and snow globes depict a sort of dystopian Kinderland. This is a place where children have no parents, a place where adults appear only as an opposing tribe. Some of characters depicted and developed in this group of photos include: a giant black dog, a band of rogue tree children and a nefarious priesthood. A small group of related snow globes will also be exhibited.

Walter Martin and Paloma Muñoz have been collaborating since 1993 and have since exhibited internationally. Their work is in numerous museum collections, including the Museo Nacional Centro de Arte Reina Sofia in Madrid, the Nerman Museum of Contemporary Art in Overland Park, Kansas, and the KIASMA Museum of Contemporary art in Helsinki, Finland. Recently their work was featured in group exhibitions at the Bellevue Arts Museum, Bellevue, Washington; the Museum of Art and Design, New York, NY and the University of Michigan in Ann Arbor, Michigan. Concurrent with the exhibition at P.P.O.W the artists are participating in the exhibition “Fairytales, Monsters and the Genetic Imagination” at the Frist Center for the Visual Arts in Nashville, Tennessee.

For further information or press images please contact: anneliis@ppowgallery.com or call 212-647-1044.