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392 Broadway
New York, NY 10013
212 647 1044
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. The gallery moved to Soho in 1988, moved to Chelsea in 2002, and in 2021 moved to its current space in Tribeca. 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.
Artists Represented:
The Estate of Carolee Schneemann
The Estate of David Wojnarowicz
The Estate of Martin Wong
Ann Agee
Karen Arm
Dotty Attie
George Boorujy
Elijah Burgher
Kyle Dunn
Chris Daze Ellis
Aaron Gilbert
Elizabeth Glaessner
Ben Gocker
Jay Lynn Gomez
Hilary Harkness
Joe Houston
Clementine Keith-Roach
Sanam Khatibi
Katherine Kuharic
Dinh Q. Le
Judith Linhares
Hew Locke
Gerald Lovell
Guadalupe Maravilla
Carlos Motta
Portia Munson
Adam Putnam
Hunter Reynolds
Erin M. Riley
Annabeth Rosen
Allison Schulnik
Jessica Stoller
Chiffon Thomas
Betty Tompkins
Suzanne Treister
Anton van Dalen
Robin F. Williams
Martha Wilson

 

 
Installation view: Martin Wong & Aaron Gilbert, "1981-2021", April 2 - May 1, 2021
Installation view: Erin M. Riley, "The Consensual Realities of Healing Fantasies", May 7 - June 12, 2021
Installation view: Ann Agee, "Madonnas and Hand Warmers", June 18 - July 23, 2021
Installation view: Gerald Lovell, "all that I have", January 22 - February 20, 2021
Installation view: Guadalupe Maravilla, "Seven Ancestral Stomachs", February 26-March 27, 2021
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Current Exhibition

Elijah Burgher

Queen of the Forest



November 19, 2021 - December 22, 2021
P·P·O·W is pleased to present Queen of the Forest, Elijah Burgher's first solo exhibition with the gallery. Using painting and drawing, Burgher works at the crossroads of representation and language, figuration, and abstraction, and the real and imagined. Inspired by the literary and visual culture of the early 20th century occult revival and the reconstructed paganism of the 1960s, Burgher’s Queen of the Forest synthesizes a variety of magical and artistic philosophies regarding language, mythology, and desire to generate his highly personalized mystical iconography. With a series of new, large-scale drawings, Burgher returns to in-depth figuration after five years cultivating a remarkably intimate code of sigils, emblems, and abstraction. Drawing from mythology, ancient history, the occult, and ritual magick, Burgher describes Queen of the Forest as being made “under the sign of Cybele.” Cut from equally scaled rolls of watercolor paper, the drawings emphasize a freer mark-making and represent fragmentary notes for a temple dedicated to the ancient archetypal dyad of the Mother Goddess and Son-Lover. Influenced by Robert Graves' The White Goddess, Burgher’s Queen of the Forest examines the bond between this buried pagan relationship, specifically the Mountain Goddess Cybele and her son and lover Attis, and its ties to sacred calendars and the cycles of nature. Often pictured wearing a mural crown and riding a chariot drawn by two lions, Cybele, also known as the Magna Mater or Great Mother, reifies nature in all its fecundity, sexuality, wonder, and violence. Accompanying this mythos is Cybele’s son Attis, an agrarian deity in his own right who was ritually sacrificed in the spring by being hung from a pine tree and castrated, his severed genitals serving to fertilize the earth. Dedicating the exhibition to Cybele, Burgher depicts the Goddess multiple times throughout Queen of the Forest, exposing how Christianity absorbed and recoded pagan beliefs. In The Green Child, 2021, Burgher recasts the figures in Sandro Botticelli’s Virgin and Child with the Infant St. John the Baptist, c. 1490, as Cybele, Attis, and the satyr Marsyas. In Cybele Exits Rome (after Mantegna), 2021, Burgher reinterprets the exultant military procession of Andrea Mantegna’s The Triumphs of Caesar, 1484–1492, depicting Cybele’s bust being wheeled into Rome by Julius Caesar’s forces and then back out into the woods by a jubilant parade of satyrs and nymphs. Recontextualizing this mythic couple of Lover and Beloved, Burgher furthers his exploration into the personal and cultural dynamics of desire, love, renewal, and subcultural formation. In addition to this latest series of drawings, Queen of the Forest also includes Burgher’s large-scale abstract paintings on drop cloth canvases and works on paper featuring his unique lexicon of sigils. Both decidedly ritualized and extremely physical, Burgher creates a ceremonial circle by placing the canvases on the floor of his studio before painting atop them. With these works, Burgher endeavors to capture how a body’s feelings, reactions, and desires can be transmitted to an inanimate object in a specific moment in time. As Burgher explains, these works function “as both portable temples—spaces for conducting rituals—and artifacts of the rituals,” also acting as “soft architecture” that divides the gallery and guides the viewer through the ‘forest’ of this exhibition. Bringing together these bodies of work, Queen of the Forest unveils a personal, art historical, and fantastical symbology through which Burgher grapples with daily human experience. Elijah Burgher (b. 1978) lives and works in Berlin. He received an MFA from the School of the Art Institute, Chicago and a BA from Sarah Lawrence College in Bronxville, New York. His work was featured in Scrivere Disegnando: When Language Seeks Its Other at Centre d'Art Contemporain Genève, Geneva, Switzerland, 2020; Drawn Together Again, FLAG Art Foundation, New York, NY, 2019; For Opacity: Elijah Burgher, Toyin Ojih Odutola, and Nathaniel Mary Quinn at the Drawing Center, 2018; Elijah Burgher: Four Paintings, LAXART, Los Angeles, CA, 2018; the Whitney Biennial, Whitney Museum of American Art, New York, NY, 2014; Burning Down the House, the Gwangju Biennale, Gwangju, Republic of Korea, 2014; and The Temptation of AA Bronson, Witte de With Center for Contemporary Art, Rotterdam, Holland, 2013, among others. He has completed residencies at the Skowhegan School of Painting and Sculpture and the Fire Island Artist Residency. His work has been reviewed in The New York Times, Art in America, Art Review and Artforum, among others.

 
Past Exhibitions

Robin F. Williams

Out Lookers



October 15, 2021 - November 13, 2021

Brittni Ann Harvey, Harry Gould Harvey IV, Alex Ito, Rajkamal Kahlon, Dinh Q. Lê, Daniel T. Gaitor-Lomack, Carlos Motta, Carlos Reyes, Dread Scott, Astrid Terrazas, Chiffon Thomas, Faith Wilding

Recovery



September 10, 2021 - September 10, 2021
P·P·O·W is pleased to present RECOVERY, a group exhibition exploring art as a critical gesture towards collective resistance and remembrance. Acting as individual altar spaces, the works presented in this exhibition form commemorative sites to recover knowledge, provide proof, overcome loss, and contain memories. Unearthing realities buried beneath layers of distorted visual understandings of historic representation, RECOVERY focuses on the notion of “insurgent commemoration”, defined by social justice scholar Roger Simon as “attempts to construct and engage representations that rub taken-for-granted history against the grain so as to revitalize and rearticulate what one sees as desirable and necessary for an open, just and life-sustaining future.” Forming alternative monuments for the living, RECOVERY gives a diverse range of narratives a voice, a platform and a meeting place. Building upon P·P·O·W’s rich programmatic history, RECOVERY brings together new works by gallery artists Dinh Q. Lê, Carlos Motta, and Chiffon Thomas along with Dread Scott, Faith Wilding, Carlos Reyes, Harry Gould Harvey IV, Brittni Ann Harvey, Daniel T. Gaitor-Lomack, Rajkamal Kahlon, Alex Ito, and Astrid Terrazas. Together, the works exhibited in RECOVERY transform the gallery into both a devotional and construction site; an architectural space that is simultaneously coming apart and falling together. With three new psychologically charged sculptures, Chiffon Thomas displays their emblematic resourcefulness, utilizing materials such as concrete, rocks, nails, rebar wire, and wooden planks. Painted in white and emanating light, one of Thomas’ works will be suspended by an electrical lift at specific times throughout the day, acting as a kind of lighthouse, watchtower, or guiding phantom. In another spectral installation, Never Forget, Never Forgive: They Left Us to Die (2006), Dread Scott memorializes individuals killed by hurricane Katrina. Destroyed and remade whenever exhibited, the wheat-pasted posters on plywood panels with “Post No Bills” stenciled overtop detail how each of the remembered souls lived and died and are based on “martyr” posters of Palestinians killed by Israel pasted all over Palestine. Bearing witness to yet another facet of American life, Carlos Reyes’ saltwaterfarm serves as a monolith of residue. Comprised of 5,264 plastic egg crates, hollowed out chicken eggs, and industrial sand, Reyes’ towering translucent structure confronts the repetition, accumulation, and constraint of our society. Building upon the ecological corrosion hinted at in Reyes’ work, pioneering eco-feminist Faith Wilding’s papyrus scrolls address the environmental deterioration in her lifetime, specifically in South America and her native Paraguay. Recording recent on-the-ground research into her birth country’s ongoing ecological crises, Wilding documents in watercolor, gold leaf, and handwritten ink, the metamorphosis of the natural world through human intervention and destruction. Similarly preserving ancient and ancestral ties, Dinh Q. Lê utilizes a traditional Vietnamese mat weaving technique learned from his aunt in his ongoing Monuments & Memorials series. Presenting a new photographic weaving, the artist combines an image of Tou Sleng (S-21) High School in Cambodia which was turned into torture center by the Khmer Rouge from 1975 to 1979, now a memorial museum, with a wall carving of the 10th century Cambodian Temple, Banteay Srey, now considered a monument. Using photography as both a technology for image making and an apparatus for distributing ideological narratives, Dinh Q. Lê reveals the failings of individual memory and collective perceptions. In this critical time of re-evaluation, RECOVERY explores questions of how to inhabit space with renewed urgency. Through the process of art-making, we record, recount, and recover previously silenced truths that the essentialism and prejudices of visual politics have not been able to suppress.

Ann Agee

Madonnas and Hand Warmers



June 18, 2021 - July 16, 2021
P·P·O·W is pleased to present Madonnas and Hand Warmers, Ann Agee’s third solo exhibition with the gallery. Showcasing the latest wares from the “Agee Manufacturing Company”, the fictitious enterprise that has motivated Agee’s three-decade career in ceramics, this tour de force exhibition will be comprised of more than one hundred unique works that form two elaborate series of aesthetically and materially diverse sculptures. Alongside Kathy Butterly, Arlene Shechet, and Annabeth Rosen, Agee is a leading member in a pioneering generation of feminist ceramicists. Since her residency at the Kohler Arts Center in 1991, Agee’s practice has focused on replicating objects by hand, a process employed to simulate mass production and engage ambiguous delineations between fine art, design, and craft; histories of cultural appropriation and exchange; and the range of women’s lived experiences. Inspired by late-17th and early-18th century Italian folk salt cellars in the collection of the Davanzati Palace in Florence, Agee’s series Madonnas of the Girl Child depicts women and girls. Made from a variety of clays, formed with different techniques, modeled in myriad sizes, glazed in numerous patterns, and fired in multiple kilns and at various temperatures, these sculptures realistically or abstractly engage motifs of the divine infant. Unlike the ubiquitous invocations of the Christ Child, all Agee’s offspring are female. Whether being breastfed, cradled, or corralled, these girls are held up by their mothers and endowed with aptitude and virtue, regardless of their appearance. The sheer panoply on view will showcase Agee’s mastery of the medium and her delight in experimentation. Agee’s figurative sculptures will be complimented by her ongoing series of Hand Warmers, which she began in 2016. Also inspired by Italian folk pottery, these vessels reference footwear and were historically meant to be filled with hot water and clasped to warm one’s hands. When such objects were in fashion, Florence was plagued by violence and upper-class women lived most of their lives in chilly palaces, resigned to pursuing the arts or domestic labor. Preceding the Madonna of the Girl Child series, Hand Warmers exemplifies Agee’s deft technical skill; sophisticated synthetization of cultural histories; and ingenuity with color, pattern, and form. Each of Agee’s sculptures bears some text – “Agee Manufacturing Co.”, “Agee MFG”, or simply “Ann’s” -- a signature cum-logo that dates to Agee’s earliest works, including her Lake Michigan Bathroom, 1994. Rendered in enamel overglaze or in red or black slip, this brand creates the impression that each work is a multiple and that another size or a different color could be fabricated back at the factory. Madonnas and Hand Warmers parodies an object’s trajectory in cultural status from utilitarian commodity to rarefied artifact, placing Agee’s practice in the boundary-defying traditions of Claes Oldenburg, Ken Price and Betty Woodman. Ann Agee (b. 1959) lives and works in Brooklyn, NY. She earned her BFA from The Cooper Union School of Art in 1981 and her MFA from the Yale School of Art in 1986. Her work has been included in notable group exhibitions, including: Bad Girls (1994), The New Museum, NY; Dirt on Delight (2009), Institute of Contemporary Art, PA and the Walker Art Center, MN; and Conversations in Clay (2008), Katonah Art Museum, NY. She has received a John Simon Guggenheim Fellowship, The Louis Comfort Tiffany Foundation Award, and a National Endowment for the Arts Fellowship, among others. Her works are included in the permanent collection of notable institutions including The Brooklyn Museum of Art, NY; The Philadelphia Museum of Art, PA; The RISD Art Museum, RI; The Los Angeles County Museum of Art, CA; The Henry Art Museum in Seattle, WA; The Kohler Art Center in Sheboygan, WI; and The Museum of Contemporary Art in Miami, FL.

Joe Houston

RUINS



May 7, 2021 - June 12, 2021

Erin M. Riley

The Consensual Reality of Healing Fantasies



May 7, 2021 - June 12, 2021

Martin Wong & Aaron Gilbert

1981-2021



April 2, 2021 - May 1, 2021
P·P·O·W is pleased to present 1981–2021, a two-person exhibition featuring the paintings of Brooklyn-based artist Aaron Gilbert and the late Chinese-American painter Martin Wong.

Guadalupe Maravilla

Seven Ancestral Stomachs



February 26, 2021 - March 27, 2021
P·P·O·W is pleased to present Guadalupe Maravilla’s Seven Ancestral Stomachs, the artist’s first solo presentation with the gallery. Combining sculpture, painting, performative acts, and installation, Maravilla grounds his transdisciplinary practice in activism and healing. For Maravilla, his own life story is his primary material. Maravilla was part of the first wave of unaccompanied, undocumented children to arrive at the United States border in the 1980s as a result of the Salvadoran Civil War. While Maravilla emigrated at the age of eight, he became a U.S. citizen at the age of 26. Yet it was not until his recovery from colon cancer in 2013 that he felt the urgency to speak out about the struggles so many undocumented immigrants and their families face. By tracing his migration history and healing journey, Maravilla explores how the trauma undocumented immigrants experience physically manifests in the body. Reflecting upon his own battle with cancer, which began in his gut, as well as that of members of his family, Maravilla examines how genetic trauma manifests in the body over generations. Throughout the many teachings Maravilla experienced in his healing process, one notion kept returning – if one cleanses properly, they will heal seven generations back and seven generations forward. Discovering sound therapy during his cancer radiation treatment, Maravilla has since developed a series of vertical, large-scale, free-standing sculptures, titled Disease Throwers. Functioning as headdresses, instruments, and shrines, the towering sculptures serve as symbols of renewal, generating vibrational sound from gongs. Described by Maravilla as “healing machines”, the structures incorporate materials collected from sites across Central America, such as anatomical models, toys, sacred objects, and sonic instruments including conch shells and flutes. In addition to Disease Throwers, Maravilla will unveil a new series of wall sculptures. The exhibition’s eponymous seven twisting gourds with extending talons embody the seven stomachs of the artist’s ancestors. Surrounding the walls of the Seven Ancestral Stomachs is Maravilla’s reinterpretation of the popular Salvadorian children’s game, Tripa Chuca or “Dirty Guts,” in which two players take turns drawing lines that never intersect. Over the course of Maravilla’s more than two-month journey to the U.S., Tripa Chuca became a survival tool. For Seven Ancestral Stomachs, Maravilla has invited an undocumented person to collaborate with him on the Tripa Chuca mural in order to create a mapping between two displaced people on the walls of the gallery. Furthering this investigation of various curative approaches, Maravilla will also present a series of retablos chronicling his healing journey. Originating in Medieval Spain, retablos are small devotional paintings, traditionally used in Mexican and Central American cultures to honor and celebrate the miracles of everyday life. Sending detailed digital sketches to a four-generation retablo painter he met in Mexico while retracing his migration route, Maravilla’s personalization of these votive offerings exemplifies his dedication to supporting a micro-economy through his artistic practice. Rather than making these paintings himself, Maravilla’s choice to collaborate expands the cross-cultural exchange of his practice and helps preserve the tradition of retablo painting in Mexico. Guadalupe Maravilla (b. 1976) currently lives in Brooklyn, New York. He received his BFA from the School of Visual Arts, and his MFA from Hunter College in New York. His work is in the permanent collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; Museo Nacional Centro de Arte Reina Sofía, Madrid; and the Institute of Contemporary Art, Miami. Additionally, he has performed and presented his work at the Whitney Museum of American Art, New York; the Metropolitan Museum of Art, New York; the Institute of Contemporary Art, Miami, Florida; Queens Museum, New York; The Bronx Museum of the Arts, New York; El Museo del Barrio, New York; Museum of Art of El Salvador, San Salvador; X Central American Biennial, Costa Rica; Performa 11, New York; Performa 13, New York;, Shelly & Donald Rubin Foundation, New York; the Drawing Center, New York; SITE Santa Fe, New Mexico; the Moody Center for the Arts at Rice University, Houston, Texas; and the Contemporary Art Museum St. Louis, Missouri, among others. Maravilla has received numerous awards and fellowships including a Guggenheim Foundation Fellowship, 2019; Soros Fellowship: Art Migration and Public Space, 2019; MAP Fund Grant, 2019; Franklin Furnace Fund, 2018; Virginia Museum of Fine Arts Fellowship, 2018; Art Matters Fellowship, 2017; Creative Capital Grant, 2016; Joan Mitchell Emerging Artist Grant, 2016; The Robert Mapplethorpe Foundation Award 2003, among others. He has also completed residencies with the Lower Manhattan Cultural Council, New York; SOMA, Mexico City; Skowhegan School of Painting & Sculpture, Maine; and the Drawing Center, New York.

Gerald Lovell

all that I have



January 22, 2021 - February 20, 2021