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DTSTART;VALUE=DATE:20200910
DTEND;VALUE=DATE:20201018
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SUMMARY:Into Open Air
DESCRIPTION:P.P.O.W is pleased to present Into Open Air\, an exhibition of new work by Kyle Dunn. Defying categorical restraint\, Dunn combines sculptural and painterly traditions\, including bas-relief and trompe l’oeil\, to express the vibrancy of the masculine emotional landscape not often represented in popular visual culture. Drawing upon a range of influences such as Italian cinema as well as horror and science fiction novels\, Dunn’s contorted figures ache with emotional and physical desire. In his first solo exhibition with the gallery\, Dunn amplifies raw emotion within his theatrically staged and fantastically rendered reliefs. \nCapturing the simultaneous anxiety and nascent hope of our present moment\, Dunn’s lush\, luminous\, and physiologically charged paintings describe the painful romance of overcoming loss before beginning anew. In works such as Boy on Table\, Dunn depicts his classical figure in a moment of manic confinement\, hovering in a virtual landscape and folded acrobatically around a modern marble table. Intertwining auto-biographical and fictional narratives\, Dunn embraces the comedic absurdity of overwhelming emotions in this exhibition. Reflecting on his proclivity for melodrama\, Dunn notes\, “There is a kind of humor and silliness to big emotions\, at least when you are looking back and processing. Making paintings is a way for me to distill messy situations in my life down to something understandable.” From the frenzied captivity of Headlights to the muddy repose of Dirt God\, Into Open Air chronicles the chaotic journey through grief toward new emotional terrain. \nKyle Dunn (b. 1990) lives and works in Queens\, NY. He grew up in Michigan and received his BFA in Interdisciplinary Sculpture at Maryland Institute College of Art (MICA). He has had two solo exhibitions in New York at Sardine\, 2017 and Thierry Goldberg Gallery\, 2018 and has been included in group exhibitions at at Galerie Maria Bernheim\, Zurich; Little Berlin\, Philadelphia\, PA; Nationale\, Portland\, OR; Part 2 Gallery; Oakland\, CA; and Ground Floor Gallery\, Brooklyn\, NY.
URL:https://artinamericaguide.com/event/into-open-air/
LOCATION:P.P.O.W.\, 535 West 22nd St\, 3rd Floor\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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DTSTART;VALUE=DATE:20200713
DTEND;VALUE=DATE:20200815
DTSTAMP:20260416T001313
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SUMMARY:Noplace
DESCRIPTION:P.P.O.W is pleased to present Noplace\, a physical and virtual exhibition curated by Eden Deering\, which brings together artists whose practices connect in their collective utopian pursuit\, their make-believe places reflecting the ills of our society\, while simultaneously communicating alternative ways to exist in this world. \nIn Utopia (1516)\, the English lawyer\, social philosopher\, author\, statesman and Renaissance humanist\, Sir Thomas More coined the term ‘Utopia’ in his sociopolitical satire. Combining the Greek words “not” (ou) and “place” (topos)\, 16th century readers would have translated the new word to ‘Not place’ or ‘Noplace’. More’s Utopia was an imaginary arcadian paradise\, off the coast of an inexact location in the ‘New World’. Describing this Utopia as the blueprint for a perfect society\, More conceived of a place that offered the material benefits of a welfare state\, promoted religious freedom\, tolerated euthanasia as well as divorce\, and abolished the societal constructs of private property\, monarchy\, and military. \nWritten against the backdrop of the tyrannical reign of King Henry VIII\, Utopia sat in stark contrast to its societal context\, which was without freedom of speech or thought\, where one man accrued vast wealth\, while thousands of others starved. By naming the island ‘Utopia\,’ or ‘Noplace’\, More emphasized the island’s non-existence\, allowing him to discuss real monarchical corruption\, while preserving his head (which Henry VIII put on a spike in 1535). By creating a fantastical positive ideal\, More communicated the injustice of his lived reality while simultaneously making an appeal to humanity’s capacity for change. \nDevin N. Morris abstracts American life and subverts traditional value systems through describing the puzzle of existence\, examining racial and sexual identities in collaged two-dimensional and three-dimensional objects. Creating elaborately constructed environments using commonly found household materials and fabrics\, such as carpets\, wooden furniture\, lamps\, and windowpanes\, Morris’s surreal landscapes combine grandparents’ living rooms\, church pews\, funeral home parlors\, and hospital waiting rooms in a puzzle of memory. For this installation Morris looks specifically at the black body\, showings its matriculation through space as fragmented\, filled with many dialects\, and constantly rearranging and often speaking in translation. \nJoel Dean creates symbols that reflect the contaminated cosmos of the American Dream. Late last year\, Dean began a series of letter paintings based on drop caps\, the enlarged initials of Medieval illuminated manuscripts\, that are today more commonly associated with fairytales and fantasy narratives. These paintings represent the condition in which a letter\, once a single unit of information\, becomes an enigmatic and multitudinous pictorial vessel. Beginning each with the form of a single letter\, Dean intuitively transforms the initial shape into an inhabitant of its own expanded world over several months. Depicting each letter in an entangled mix of organic growth and man-made mechanisms of industrial expansion\, Dean’s paintings highlight the structural and visual parallels between written systems and the complex worlds they describe. Dean’s imagined constructions give meaning to the isolated letters\, just as the letters initially informed the evolution of the surrounding imagery. \nCombining histories of pre-colonial Central America\, personal mythology\, and collaborative rituals\, Guadalupe Maravilla’s Disease Thrower #4 functions as a headdress\, instrument\, and shrine. Through the incorporation of materials collected from sites across Central America\, anatomical models\, and sonic instruments such as conch shells and gongs\, Maravilla describes such sculptures as “healing machines”\, ultimately serving as symbols of renewal\, generating therapeutic\, vibrational sound. Throughout the exhibition\, Maravilla will perform weekly sound baths for groups of five to seven visitors. \nIn largescale painted plexiglass sculpture’s punctuated with diaristic narrative etchings\, Raque Ford envelops her audience\, folding their reflections into a material and emotional drama. Exploring narratives of black female identity through constant juxtaposition\, Raque Ford’s work lives between abstract and personal\, masculine and feminine\, lightness and darkness\, and timidity and aggression. \nFicus Interfaith is a collaboration between Ryan Bush and Raphael Martinez Cohen. As much a research initiative as a sculptural practice\, Ficus Interfaith pursues projects that focus on their personal and collective interactions with the “natural” by way of relearning production methods that investigate ingenuity and novelty as it emerges from craft. Using terrazzo\, a composite material consisting of leftover marble\, glass\, and other waste\, used to make decorative floors since antiquity\, Ficus Interfaith embraces the spirit of collaboration and reuse. In Noplace\, the duo will present a terrazzo triptych depicting a fire overwhelming the hearth of a nonspecific domestic interior\, its flames licking the frame of a generic landscape painting hanging overhead. Such works operate as metaphors for other worlds\, and ultimately become portals with the potential to activate the viewer’s imagination in the present. \nDevin N. Morris (b. 1986\, Maryland) lives and works in Brooklyn. Morris was recently in The Aesthetics of Matter\, the first NYC curatorial project by Deux Femme Noires: Mickalene Thomas and Racquel Chevremont. He was also featured in the New Museum’s MOTHA and Chris E. Vargas: Consciousness Razing—The Stonewall Re-Memorialization Project\, and the two-person show\, Inside Out\, Here\, at La Mama Gallery\, curated by Eric Booker (Studio Museum\, Exhibition Coordinator). Morris is the founder of 3 Dot Zine\, which is an annual publication that serves as a forum for marginalized concerns and recently hosted the Brown Paper Zine & Small Press Fair with the Studio Museum in Harlem and created a site-specific installation at the MoMA PS1 2018 NY Art Book Fair. His 2017 solo show at Terrault Contemporary was listed in Artforum as the “Best of 2017\,” and he was named by Time Magazine in 2017 as one of “12 African American Photographers You Should Follow.” \nJoel Dean (b. 1986\, Georgia) lives and works in New York. He graduated from the School of the Art Institute of Chicago with a Bachelor of Fine Art in 2009. He is a recipient of the Ellen Battell Stoeckel Fellowship from the Yale University Summer School of Music and Art. His work has been included in exhibitions at Tatjana Pieters\, Ghent; Prairie\, Chicago; Cordova\, Barcelona; Alyssa Davis Gallery\, New York; Species\, Atlanta; Bureau\, New York; ISCP\, New York; Weekends\, London; MX Gallery\, New York; Bodega\, New York; and Jancar Jones\, Los Angeles. He had his first solo exhibition in New York\, The Fugitive\, the Repeat Offender\, and the Running Joke\, at Interstate Projects in 2018. \nGuadalupe Maravilla (b. 1976\, San Salvador) currently lives in Brooklyn\, New York\, and Richmond\, Virginia\, where he is an Assistant professor at Virginia Commonwealth University. He received his BFA from the School of Visual Arts\, and his MFA from Hunter College in New York. He is the recipient of numerous awards and fellowships including a Guggenheim Foundation Fellowship in 2019. 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; 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; and the Drawing Center\, New York\, among others. \nRaque Ford (b. 1986\, Maryland) lives and works in Brooklyn\, New York. She received her BFA from Pratt Institute and her MFA from Rutgers Mason Gross School of the Arts. Recent solo exhibitions include My Biggest Fan\, CAPITAL\, San Francisco\, CA; con•fi•dence\, Williamson and Knight\, Portland\, OR; Karafun\, The Fort\, Brooklyn\, NY; Carolyn\, Shoot the Lobster\, New York\, NY; It’s All About Me\, Forget About You\, Species\, Atlanta\, GA; That Which We Call a Rose by Any Other Name Would Smell As Sweet\, Soloway\, Brooklyn\, NY; and Raque\, Welcome Screen\, London\, UK. Recent two-person and group exhibitions include Retrograde\, Deli Gallery\, Brooklyn\, NY; Soul is a four letter word\, Museum Gallery\, Brooklyn\, NY; and In Practice: Fantasy Can Invent Nothing New\, Sculpture Center\, Queens\, NY. She is the recipient of the 2017 Louis Comfort Tiffany Biennial Award\, was awarded a residency at the International Studio and Curatorial Program (Brooklyn\, NY)\, and was a resident at S1 (Portland\, OR). Ford will have a solo exhibition at Martos Gallery\, New York in the fall of 2020. \nFicus Interfaith is a collaboration between Ryan Bush (b. 1990\, Colorado) and Raphael Cohen (b. 1989\, New York City). Their work has been the subject of solo exhibitions at Incident Report\, Hudson\, NY; Jack Chiles\, New York\, NY; Interstate Projects\, Brooklyn\, NY; Prairie\, Chicago\, IL; Proxy\, New York\, NY; among others. In 2018\, they were artists in residence at 2727 California Street\, Berkeley\, CA and Shandaken: Storm King\, NY. Ficus Interfaith will have a solo exhibition at Deli Gallery\, New York in the fall of 2020.
URL:https://artinamericaguide.com/event/noplace/
LOCATION:P.P.O.W.\, 535 West 22nd St\, 3rd Floor\, New York\, NY\, 10011\, United States
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DTSTART;VALUE=DATE:20200326
DTEND;VALUE=DATE:20200426
DTSTAMP:20260416T001313
CREATED:20200401T180152Z
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SUMMARY:Online Exhibition: Hell is a Place on Earth. Heaven is a Place in Your Head.
DESCRIPTION:Hell is a Place on Earth. Heaven is a Place in Your Head. \nMarch 26 – April 25\, 2020 \nOnline Exhibition \n  \n“WHEN I WAS TOLD THAT ID CONTRACTED THIS VIRUS IT DIDNT TAKE ME LONG TO REALIZE THAT ID CONTRACTED A DISEASED SOCIETY AS WELL… \nI’m beginning to believe that one of the last frontiers left for radical gesture is the imagination…fantasies give me distance from my outrage for a few seconds. They give me momentary comfort. Sexuality defined in images gives me comfort in a hostile world. They give me strength.” \nDavid Wojnarowicz\, Postcards from America:  X Rays from Hell\, 1990 \nP.P.O.W presents Hell is a Place on Earth; Heaven is a Place in Your Head\, an online exhibition featuring films by David Wojnarowicz\, Carolee Schneemann\, Carlos Motta\, Hunter Reynolds\, Guadalupe Maraviila\, and Suzanne Treister. \nAs humankind grapples with the overwhelming changes to daily life resulting from the COVID-19 pandemic\, these films confront bodily and societal restriction as well as destruction with “radical gestures” unique to each artist.  Expressing spiritual\, physiological\, and sexual freedom\, these films allow the viewer the rare opportunity to transcend culture’s sovereign structures\, conventions\, and taboos. \nDavid Wojnarowicz (1954-1992) was among the most incisive and prolific American artists of the 1980s and 90s. Wojnarowicz’s work has been exhibited at The Museum of Modern Art\, New York; Museum of Contemporary Art\, Chicago; The American Center\, Paris\, France; The Busan Museum of Modern Art\, Korea; Centro Galego de Art Contemporanea\, Santiago de Compostela\, Spain; The Barbican Art Gallery\, London; and the Museum Ludwig\, Cologne. His work is in permanent collections of major museums nationally and internationally and his life and work have been the subject of significant scholarly studies. Wojnarowicz has had retrospectives at the galleries of the Illinois State University\, curated by Barry Blinderman (1990) and at the New Museum\, curated by Dan Cameron (1999). A third retrospective\, David Wojnarowicz: History Keeps Me Awake at Night\, co-curated by David Kiehl and David Breslin\, opened at the Whitney Museum of American Art in July 2018. The widely acclaimed exhibition has been reviewed in Artforum\, The Guardian\, The New York Times and The New Yorker\, among others. The retrospective traveled to the Museo Reina Sofia\, Madrid in May 2019 and to the Musee d/Art Moderne Grand-Duc Jean\, Luxembourg City through February 2020. \nCarolee Schneemann (1939- 2019) activated the female nude with a multidisciplinary practice that spanned sixty years and included painting\, assemblage\, performance\, and film. She received a B.A. in poetry and philosophy from Bard College and a Master of Fine Arts from the University of Illinois. Originally a painter in the Abstract Expressionist tradition\, Schneemann was uninterested in the masculine heroism of New York painters of the time and turned to performance-based work\, primarily characterized by research into visual traditions\, taboos\, and the body of the individual in relation to social bodies. Although renowned for her work in performance and other media\, Schneemann began her career as a painter\, stating\, “I’m a painter. I’m still a painter and I will die a painter. Everything that I have developed has to do with extending visual principles off the canvas.” Schneemann has exhibited worldwide\, at institutions including the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art\, The Museum of Modern Art\, New York; the Tate Modern\, London; the Centre Georges Pompidou\, Paris; and The Reina Sofia Museum\, Madrid. The comprehensive retrospective Carolee Schneemann: Kinetic Paintings recently traveled from Museum der Moderne\, Salzburg (2015)\, to the Museum fur Moderne Kunst\, Frankfurt am Main\, Germany (2017) and MoMA PS1\, New York (2018). \nCarlos Motta’s (b. 1978) multi-disciplinary art practice documents the social conditions and political struggles of sexual\, gender\, and ethnic minority communities in order to challenge dominant and normative discourses through visibility and self-representation. As a historian of untold narratives and an archivist of repressed histories\, Motta is committed to in-depth research on the struggles of post-colonial subjects and societies. His work manifests in a variety of mediums including video\, installation\, sculpture\, drawing\, web-based projects\, performance\, and symposia. His work is in the permanent collection of The Metropolitan Museum of Art\, New York; The Museum of Modern Art\, New York; Guggenheim Museum\, New York; Museo Nacional Centro de Arte Reina Sofia\, Madrid; Museo de Arte Contemporaneo de Barcelona; Museu Fundaçao Serralves\, Porto; and Museo de Arte de Banco de la República\, Bogotá; among many other institutional\, corporate\, and private collections around the world. Carlos Motta’s first 20-year career monograph Carlos Motta: History’s Backrooms will be published by SKIRA and distributed by DAP and Thames and Hudson in spring 2020. \nHunter Reynolds (b. 1959) uses photography\, performance and installation to address issues of gender\, identity\, sexuality\, mourning\, loss\, survival\, and healing. In his catalog essay for the 1990 exhibition Drag\, which was republished in the exhibition guide for From Drag to Dervish at P·P·O·W last year\, Gregg Bordowitz speaks to the enduring relevance of Reynolds’ art\, remarking that this work “provides the opportunity for viewers to divest interests in the present order of sexuality and it invites us to take some new risks.” Reynolds was an early member of ACT UP and in 1989 co-founded Art Positive\, an affinity group of ACT UP. He has presented solo exhibitions at White Columns\, New York\, NY; Artist Space\, New York\, NY; Participant Inc.\, New York\, NY; Yerba Buena Center for the Arts\, San Francisco\, CA; and Hales Gallery\, London. He has been included in group exhibitions at the New Museum of Contemporary Art\, New York\, NY; the ICA Boston\, Boston\, MA; the Hayward Gallery\, London\, UK; Aldrich Museum of Art\, Ridgefield\, CT; and DOCUMENTA\, Kassel; among others. \nGuadalupe Maravilla (b. 1976) is a transdisciplianary artist who was part of the first wave of undocumented children to arrive at the United States border in the 1980s from Central America. In 2016\, as a gesture of solidarity with his undocumented father—who uses Maravilla as his last name in his fake identity—Irvin Morazan changed his name to Guadalupe Maravilla. As an homage to his own migratory history\, and to that of others\, Maravilla makes work that acknowledges the historical and contemporary contexts of immigrant culture\, notably belonging to Latinx communities. Maravilla gained notoriety for his performances which are expansive and immersive\, incorporating choreographed rituals\, hand-made costumery\, fusion music\, smell\, theatre\, and audience participation. He currently lives in Brooklyn\, New York\, and Richmond\, Virginia\, where he is an Assistant professor at VCU. He received his BFA from the School of Visual Arts\, and his MFA from Hunter College in New York. He has performed and presented his work extensively in venues such as the Whitney Museum of American Art\, Metropolitan Museum of Art\, ICA Miami\, Queens Museum\, Bronx Museum\, El Museo Del Barrio\, MARTE (El Salvador)\, Central America Biennial X (Costa Rica)\, XI Nicaragua Biennial\, Performa 11 & 13\, Fuse-Box Festival\, Exit Art\, Smack Mellon\, Rubin Foundation\, and the Drawing Center. \nSuzanne Treister (b. 1958) has been a pioneer in digital\, new media\, and web-based media art since the late-1980s. Utilizing various media\, including video\, the internet\, interactive technologies\, photography\, drawing and watercolor\, Treister has evolved a large body of work which engages with eccentric narratives and unconventional bodies of research to reveal structures that bind power\, identity\, and knowledge. Often spanning several years\, her projects comprise fantastic reinterpretations of given taxonomies and histories that examine the existence of covert\, unseen forces at work in the world\, whether corporate\, military\, or paranormal. An ongoing focus of her work is the relationship between new technologies\, society\, alternative belief systems\, and the potential futures of humanity. Treister studied at St Martin’s School of Art\, London (1978-1981) and Chelsea College of Art and Design\, London (1981-1982) and currently lives and works in London. Recent exhibitions include solo and group shows at the ICA London; 10th Shanghai Biennale\, China; ZKM\, Karlsruhe\, Germany; Stedelijk Museum Bureau Amsterdam (SMBA)\, Netherlands; Schirn Kunsthalle\, Frankfurt; Raven Row\, London; Secession\, Vienna; Museum of Contemporary Art (CAPC) Bordeaux and Annely Juda Fine Art\, London. Treister’s work is held in private and public collections including Tate Britain; Science Museum\, London; Centre Pompidou\, Paris; Muzeum Sztuki\, Łódź\, Poland and Thyssen-Bornemisza Art Contemporary\, Vienna.
URL:https://artinamericaguide.com/event/online-exhibition-hell-heaven/
LOCATION:Online Exhibition
CATEGORIES:Exhibition,Virtual Events + Viewing Rooms
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DTSTART;VALUE=DATE:20200220
DTEND;VALUE=DATE:20200322
DTSTAMP:20260416T001313
CREATED:20200124T224729Z
LAST-MODIFIED:20200124T224729Z
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SUMMARY:Hatch
DESCRIPTION:P.P.O.W. is pleased to present Hatch\, Allison Schulnik’s first solo exhibition with the gallery. In the first presentation since Schulnik gave birth to her daughter Tupelo and moved to the remote mountain area of Sky Valley\, California\, Hatch incorporates the myriad methods that comprise Schulnik’s practice. Working in paint\, sculpture\, and animation\, Schulnik seamlessly transitions between mediums\, imbuing her work with a distinct sensibility that melds theatricality with intense emotional vulnerability. Known for her uncanny approach to traversing the internal and immaterial terrains of nostalgia\, childhood memories\, and dreams\, Schulnik choreographs an honest\, complex and contemporary portrait of new motherhood and life seen through the red haze and black silence of the desert. \n  \nJourneying into new physical and spiritual wildernesses with Hatch\, Schulnik responds directly to the present as it unfolds around her\, revealing that constant flux between life and death in the surrounding desert. While it can be dark\, coarse\, silent\, and still\, the desert can also be vibrant\, blooming\, and full of life. Connecting this new awareness of nature with the birth of her daughter Tupelo\, Schulnik uses paint like clay to sculpt daily interactions with the natural surroundings where the fantastic and the real merge. In Tupelo’s Fox\, Schulnik paints from memory a moment when she and a bright-eyed fox\, a regular nighttime visitor to their property\, locked eyes during one of her midnight nursing sessions with Tupelo. The fox\, having been spotted\, stares elliptically back at the viewer through the frozen black night. Although shrouded in stillness\, with the rich impasto strokes\, Tupelo’s Fox teems with energy and life. \n  \nOver the course of the exhibition\, Schulnik excavates the psychological\, spiritual\, and literal terrain of early motherhood. In three very different portraits completed months apart\, Schulnik renders each of\, what she calls\, “Tupelo’s sides.” Schulnik describes the side depicted in Tupelo #1 as “fiercely confident\, mesmerizing\, and otherworldly.” Painting her daughter on their living room carpet staring up at her with huge lashes and electric blue eyes\, Schulnik creates an image that can be viewed literally\, psychologically\, and spiritually all at the same time. Such works for Schulnik also exist within the present\, the past and the future\, ultimately. Occupying this liminal space\, Hatch bridges the real and magical through Schulnik’s painted environments of motherhood and the desert that expresses to the fullest both life and death simultaneously. \n  \nAllison Schulnik (b. 1978\, San Diego\, CA) lives and works in Sky Valley\, CA. Her films have been included in internationally renowned festivals and museums including MASS MoCA\, the Hammer Museum\, LACMA\, Annecy International Animated Film Festival and Animafest Zagreb. Her latest film Moth is the Times Square Arts’ January 2020 Midnight Moment\, the world’s largest\, longest-running digital art exhibition\, synchronized on electronic billboards throughout Times Square nightly from 11:57pm to midnight. Solo exhibitions of Schulnik’s work have been presented at the Wadsworth Atheneum Museum of Art\, Hartford\, CT; Laguna Art Museum\, Laguna Beach\, CA; Oklahoma City Museum of Art\, OK; Nerman Museum of Contemporary Art\, Overland Park\, KS; Mark Moore Gallery\, Los Angeles; ZieherSmith\, New York\, NY; and Galeria Javier Lopez & Fer Frances\, Madrid. Schulnik’s work can be found in numerous museum collections including the Los Angeles County Museum of Art; Museum of Contemporary Art San Diego; Santa Barbara Art Museum; Museé de Beaux Arts (Montreal); Laguna Art Museum; The Crocker Art Museum; Wadsworth Atheneum Museum of Art; and The Albright-Knox Gallery.
URL:https://artinamericaguide.com/event/hatch/
LOCATION:P.P.O.W.\, 535 West 22nd St\, 3rd Floor\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20200109
DTEND;VALUE=DATE:20200216
DTSTAMP:20260416T001313
CREATED:20200124T224710Z
LAST-MODIFIED:20200124T224710Z
UID:64114-1578528000-1581811199@artinamericaguide.com
SUMMARY:Spread
DESCRIPTION:P.P.O.W. is pleased to present Spread\, Jessica Stoller’s second solo exhibition with the gallery. Working in the realm of figurative sculpture\, Stoller mines the rich and complicated history of porcelain\, harnessing its links to power\, desire and taste. Synthesizing the cultural\, historical\, and corporeal notions of the female body\, Stoller expands the feminist visual vernacular and makes space for subversion\, defiance and play. Deftly employing myriad techniques over the past six years\, Stoller’s complex works are hand-built\, thrown\, carved\, molded and ultimately fired multiple times to create richly colored surfaces. The works on view marry a dizzying array of the imagined\, idealized and grotesque. For Stoller the ‘grotesque’ becomes a powerful tool to challenge patriarchal power structures\, as female figures flaunt what they are told to hide\, reveling in their own pleasure and abjection. With masterful technical finesse\, Stoller sculpts wrinkles\, pimples\, piercings\, cellulite\, and sagging flesh that writhes and pulsates with energy. \nSpread\, the title of the exhibition alludes to movement\, defiance and display. Building on her previous still life tableaus\, Stoller has created Bloom\, a resplendent array of intricate botanical forms meticulously arranged by subtle gradating hue. This surreal sprawl of gaping corpse flowers\, lilies\, chrysanthemums and fleshy orchids\, among others\, is seductive and repugnant\, a carnal visual feast. An abstracted and decaying female body emerges from within this tableau\, her legs open to the viewer\, her stomach and internal organs wrapping upwards amongst the floral diversity swarming around her. \nFor Stoller\, Spread is also boldly personal as she explores\, for the first time\, her own body in its relation to the bodies of her mother and grandmother. Looking at the inherited body as it ages Stoller writes\, “as I age\, I can’t help but think about how we are intrinsically trying to slow the clock\, to put the body that sags & wrinkles out of sight… My paternal grandma and I were very close. Towards the end of her life her hands were stiff with arthritis and her fingers angled in unnatural ways; these details are what makes a person\, an accumulation of life\, uniquely recorded through our bodies. These images stay with me.” \nWith Breastplate\, Stoller celebrates the often-stigmatized miraculousness of the female body in its ability to give and sustain life. While breasts are endlessly represented in advertisements and popular culture\, their biological purpose of providing food is often censored and deemed controversial. Breastplate\, transforms both its ornamental and biological power into armor. Metallic lustre gilds the neck and chest\, stopping just above the breasts to reveal the anatomy responsible for the conversion of blood to milk while luscious locks of hair cascade around the torso. Both utterly exposed and gloriously adorned\, Breastplate encapsulates the sense permeating the entire exhibition that personal defiance can and will usurp dominant convention. \nJessica Stoller (b. 1981) lives and works in Brooklyn\, NY. She received her BFA from the College for Creative Studies\, and an MFA from Cranbrook Academy of Art. Stoller’s work has been reviewed\, in such publications as The New York Times\, Artforum\, The Guardian\, Hyperallergic\, and Ceramics: Art and Perception\, among others. She has been included in exhibitions at the Foundation Bernardaud\, Limoges\, France; the Zuckerman Museum of Art\, GA; Greenwich House Pottery\, NY; and Wave Hill\, NY. She has had solo exhibitions at P·P·O·W\, NY; Hionas Gallery\, NY; and The Clay Studio\, PA. A 2016 Pollock-Krasner grantee\, Peter S. Reed grantee and Louis C. Tiffany nominee\, Stoller has also participated in residencies including the Kohler Arts & Industry Program\, The Museum of Arts and Design’s Artist Studios Program\, and The Shigaraki Ceramic Culture Park\, in Koka City\, Japan.
URL:https://artinamericaguide.com/event/spread/
LOCATION:P.P.O.W.\, 535 West 22nd St\, 3rd Floor\, New York\, NY\, 10011\, United States
CATEGORIES:Exhibition
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