#ppow

[jgthirlwell]

Ishi Glinski Duration of Being Known at PPOW in Tribeca

[formerlyroyal]

[newyorkarttours]

Ann Agee at PPOW Gallery

Inspired by Florentine salt cellars depicting religious imagery, Ann Agee’s contemporary Madonna and child sculptures rethink traditional devotional objects. After an online taster exhibition featuring mother and child sculpture in summer ‘20, Agee rewards an in-person visit to PPOW Gallery with dozens of sculptures in wonderfully bold patterns and styles that range from detailed to abstract. Occupying one huge pedestal at the center of the gallery, Agee’s homage to mothers and - in this case female - children is a celebration of variety and invention. (On view in Tribeca through July 23rd.) Ann Agee, installation view of ‘Madonnas and Handwarmers,’ July 2021.

[mtaartsdesign]

Anton van Dalen preserves the colors of the original Nevins Street (2/3/4/5/) station mosaics in his porcelain enamel plates. The stenciled silhouettes in “Work & Nature” (1997), depict people at work – at a meeting, reading a blueprint, playing guitar and planting a tree  - a tribute to the people of this Brooklyn neighborhood. For the artist, these figures symbolize "the pride, dignity, and beauty surrounding all work."  See more of Van Dalen’s art exploring popular culture and the meaning of home in his show “Junk Kulture” at PPOW Gallery through April 20th.

[jessmarieross]

Juxtapoz Magazine - May 26, 2018

VIA WOOL & COTTON: AN INTERVIEW WITH ERIN M RILEY

By Jessica Ross

Imagine your high school bedroom. Think about all the posters that adorned your walls, the tapes or cds that bestrewn your desk, and the various accoutrements that lent themselves so perfectly to your budding personal identity. Looking back, do these objects carry meaning? Do they possess a certain emotional weight, positive or negative? Why do you think that is?

Next month, textile artist Erin M. Riley endeavors to answer these questions for herself through a new body of work at PPOW Gallery. Titled “Used Tape” this new show focuses on Riley’s own journey through the turbulent world of womanhood and sexual identity. Via wool and cotton, Riley has assembled an inanimate tableau of personal affects, each carrying their own unique significance to the artist. Working in her signature style, Riley continues to push her work and enter discussions that are at times uncomfortable, and ultimately entirely necessary. According to the gallery, “The imagery in Riley’s work is derived from personal photographs, found photographs sourced from the internet, and still lifes. She explores the innate difficulty of womanhood, objectification of the female body, and traumas both large and small that weigh on the search for self-identity. Riley has a history of sexual assault and violence in her family, the fear of which had a deep impact on the formation of her sexual identity. Her work is often partially autobiographical, an aspect of her practice that she sees as essential to both processing these experiences and to make others feel less alone."communicating with one another.  

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[artruby]

Portia Munson, The Garden, at P·P·O·W.

[formerlyroyal]

[newyorkarttours]

Aaron Gilbert at PPOW Gallery

Even in moments of tenderness and connection, Aaron Gilbert’s dead-eyed characters are shaped by the difficulty of their circumstances. In this painting titled ‘Conspirators,’ currently on view at PPOW Gallery, these men’s tired expressions suggest they’re not just sharing a story or chatting but hatching a desperate plan. The scene recalls Charles White’s 1942 painting of two working men in close conversation that was recently on view in the Whitney’s Mexican muralist show. But while White’s men engage with feeling about the news or activism, Gilbert’s operate with little conviction and less hope. (On view through May 1st with work by Martin Wong in Tribeca. Masks and social distancing required.) Aaron Gilbert, Conspirators, oil on canvas, 38 x 40 inches, 2020.