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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Out Of Water

Sat Oct 27, 2012 18:00 - Sat Dec 15, 2012

New York, New York
United States of America

P.P.O.W is pleased to announce Out of Water, our sixth solo exhibition of figurative sculpture by Judy Fox. Well known for her exquisitely rendered human figures, including children that are at once iconic, psychological and subversive, Fox continues to explore mythological references that are used to reflect upon contemporary sociological issues. In her latest installations, virtuoso use of form extends to the surreal, with visual puns used to provoke conflicted emotional reactions.

The centerpiece of this new installation is a comely standing life-size figure of a Mermaid. Legs pressed together as if fused into a tailfin, hands paddling downward, she looks dreamily over her entourage. A set of Worms spread out before her like the writhing sea horses that pull the chariot of a Greek sea goddess. They are curvy and sensual --- some profiles resemble parts of naked human bodies.

If the worms embody physicality itself, the Cephalopods in the room are all head. They look on, analytical and judgmental. Amusingly, they all seem to assume the characters of human prototypes --- a wise old man, a frilly girl, a dowager, a butler. Her provocative imagery swirls with layers of mythology, science and humor.

Out of Water once again puts iconic imagery in service of an exploration of human imperatives. Like the sea monsters that prowled the edges of the once flat earth, the Cephalopods and Worms threaten our boundaries. Primitive, alien, yet connected to our own predatory minds and soft flesh, they both attract and repel. They are a premonition of the human animal yet to evolve, and they remind us that the primordial persists within us. It is a fearful affinity that is allegorized in the earliest myths of creation and procreation, and is the heart of evolution.

Judy Fox was born in 1957 in New Jersey and now lives and works in New York City. She studied sculpture at Yale University and the Skowhegan School of Painting and Sculpture and received a Masters in Art History and Conservation from the Institute of Fine Arts, New York University. She has participated in numerous private and public exhibitions in the United States and Europe. She has received many awards, including NEA grants, "Anonymous Was a Woman" and the American Academy of Arts and Letters. She is a fellow of both the John Simon Guggenheim Memorial Foundation and the New York Foundation for the Arts.


Typology of Void: A panel in conjunction with D-33 by Sarah Oppenheimer

Fri Sep 28, 2012 19:30 - Fri Sep 28, 2012

Typology of Void will explore the potential of a typology of architectural absence. Discussion will range from the history of typological structure to the catalytic potential of absence in standardized spaces.

Moderator: Srdjan Jovanovic Weiss


Nana Last
David Reinfurt
Sarah Oppenheimer


Sarah Oppenheimer D-33

Thu Sep 06, 2012 17:45 - Sat Oct 13, 2012

New York
United States of America

P.P.O.W is pleased to announce the opening of D-33 by Sarah Oppenheimer.

D-33 is the most recent entry into Oppenheimer's typology of holes. Responding to a history of architectural typology, Oppenheimer systematizes the spatial continuity created by architectural rupture. In this exhibition, Oppenheimer investigates the ways in which perforations in architectural boundaries impact spatial navigation and visualization.

D-33 is an architectural catalyst. Intersecting apertures disrupt the corners of six discrete rooms. Light, sight and motion flow across previously enclosed boundaries. Visual distance is collapsed while the physical distance traversed by the viewer is extended. Abbreviated sightlines create visual and mnemonic shortcuts between the cluster of rooms. As such, the work operates on the level of a digital interface; composite spaces are shared between users in real time.

D-33 is a doubled hole. Discrete temperatures of warm and cool white light illuminate each of the six rooms. Light diffuses along each wall surface, then refracts on a large-scale sloped glass plane, contaminating the light temperature in each zone. The light absorbent aluminum surface of D-33 counteracts this contamination. Cleaved by the inserted apertures into discrete color-zones, light functions as a marker of spatial difference.

In late November, Oppenheimer's groundbreaking architectural intervention will open at the Baltimore Museum of Art. The installation will link the museum's modern and contemporary collections through two apertures that traverse floor, ceiling and walls. Currently, Oppenheimer's work can be seen in Factory Direct at the Warhol Museum and 610-3356 at the Mattress Factory, both in Pittsburgh. Oppenheimer's upcoming exhibits include solo projects at the Wall House in the Netherlands; Duve Berlin, Germany; and Site Santa Fe, New Mexico; her work will be included in Against the Grain at the Museum of Art and Design in New York City.

Oppenheimer was awarded the Rome Prize Fellowship in 2010-2011 and the Joan Mitchell Foundation Grant in 2011. Recent exhibitions include D-17 at Rice University, Houston, TX; Automatic Cities at the Museum of Contemporary Art in San Diego, CA; Currents: Sarah Oppenheimer at the Saint Louis Art Museum, MO; and Inner and Outer Space at the Mattress Factory, in Pittsburgh, PA. Oppenheimer lectures extensively and was recently featured in a number of catalogues published exclusively about her work, including "Keunstler Kritishes Lexikon der Gegenwartskunst" with an essay by Ines Goldbach, "Sarah Oppenheimer D-17," published by Rice University Art Gallery, Houston, with an interview and introduction by Kimberly Davenport, and "Sarah Oppenheimer MF-142" at Annely Juda Fine Art with an essay by Cay Sophie Rabinowitz.


Earth WORKS: Ten Artists on Land and Industry

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

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).


Teun Hocks: Recent Works

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

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.