P·P·O·W is pleased to present new works by Kyle Dunn, Aaron Gilbert, Rajkamal Kahlon, Clementine Keith-Roach, Erin M. Riley, Allison Schulnik, and Robin F. Williams alongside historic works by Carolee Schneemann and Martin Wong.
In his luminous and physiologically complex scenes, Kyle Dunn (b. 1990) explores power dynamics of gay relationships not often represented in visual culture. Intertwining autobiographical and fictional narratives within ambiguous and spatially deceptive environments drenched in eroticism and cinematic drama, Dunn uses humor and titillation to reflect upon how we reject or subconsciously reenact the expectations of masculinity, even privately amongst ourselves. Bathed dramatically in moonlight, the nude protagonist in Dunn’s Coat is reflected out at the viewer by the central mirror draped with a coat. Capturing a moment of insomnia-driven introspection, the reflection reveals the simultaneously defiant and insecure gaze of one grappling with their relationship to the exterior world. Dunn lives and works in Queens, NY and received his BFA in Interdisciplinary Sculpture from the Maryland Institute College of Art, Baltimore, MD. His work has been included in exhibitions at P·P·O·W, New York, NY; Marlborough Gallery, London, UK; GRIMM, Amsterdam, the Netherlands; and Maria Bernheim, Zurich, Switzerland; among others. His work is in the collections of the Institute of Contemporary Art, Miami, FL and the Sunpride Foundation, Kowloon, Hong Kong. P·P·O·W presented Into Open Air, Dunn’s first solo exhibition with the gallery, in 2020. His second solo exhibition with the gallery will open in April 2023. His work is currently on view at the ICA, Miami, FL in Fire Figure Fantasy: Selections from ICA Miami’s Collection, through October 30, 2022.
Known for his quietly charged scenes, Aaron Gilbert (b. 1979) unearths complex emotional terrains in the presence of societal crisis. His meticulously worked and reworked compositions are set against a backdrop of empirically American wreckage and unbridled technological acceleration. In his new large-scale triptych, Last Day at T-Mobile, 2022, Gilbert depicts a T-Mobile employee’s bold decision to quit her job and return to the embrace of her family at home. In the central panel, a primordial female figure gazes defiantly out towards the viewer, with talismans of contemporary technological detritus dangling beneath. Gilbert earned his BFA from Rhode Island School of Design, Providence, RI and an MFA from Yale University, New Haven, CT. He is a 2015 Louis Comfort Tiffany Award recipient and was awarded the “Young American Painter of Distinction” by the American Academy of Arts and Letters in 2010. Gilbert has presented solo and two-person exhibitions at P·P·O·W, New York, NY; Chris Sharp Gallery, Los Angeles, CA; Sant’Andrea de Scaphis, Rome, Italy; and Lyles & King, New York, NY, among others. His work is in the permanent collections of the Brooklyn Museum of Art, Brooklyn, NY; Columbus Museum of Art, Columbus, OH; Hammer Museum, Los Angeles, CA; High Museum of Art, Atlanta, GA; Rhode Island School of Design Museum, Providence, RI; Studio Museum in Harlem, New York, NY; and Whitney Museum of American Art, New York, NY.
Rajkamal Kahlon (b. 1974) calls upon the material culture and ethnographic research of western colonial archives in her drawings and paintings. Utilizing recuperation as a mode of aesthetic and political resistance, her ongoing series We've Come a Long Way to be Together injects vibrant color into black and white portraits of travelers from Africa, Asia and the Middle East. Sourced from Wilfred Thesiger’s Arabian Sands and painted on top of reproductions of the first edition, published in 1959, Kahlon’s portraits disrupt this biased yet historically influential travelogue by substituting the iconographies of travel associated with European subjectivities for non-Europeans. Kahlon is an American artist living and working in Berlin. She received a BFA from the University of California, Davis, Davis, CA and an MFA in Painting and Drawing from the California College of Arts, San Francisco, CA. She is an alumna of Skowhegan School of Painting & Sculpture, New York, NY and the Whitney ISP, New York, NY. Kahlon was recently appointed as a professor of painting at the University of Fine Arts in Hamburg, Germany. Her work has been exhibited internationally in biennials, including the 2012 Taipei Biennial, Taipei, Taiwan; Meeting Points 7, and the 2nd Labin Industrial Biennial, Labin, Croatia and in museums, including Haus der Kulturen der Welt, Berlin, Germany; the Museum of Contemporary Art, Antwerp, Belgium; Museum of Modern Art, Warsaw, Poland; Museo Universitario Arte Contemporáneo, Mexico City, Mexico. Kahlon is the recipient of numerous grants, awards, and residencies including the 2019 Villa Romana Prize, the Joan Mitchell Painting and Sculpture Award, Pollock Krasner Award, American Civil Liberties Union (ACLU) National Security Project Artist-in-Residence, Melon Visiting Artist Fellowship, the Berlin Artist Grant and the 2021 Hans and Lea Grundig Prize. Kahlon's solo exhibition curated by What, How & for Whom / WHW (Ivet Ćurlin, Nataša Ilić and Sabina Sabolović) will open at the Kunsthalle Wien, Museumsquartier, Vienna, Austria on December 1 and will be on view through April 16, 2023. Kahlon will present her next solo exhibition with the gallery in May 2023.
Fusing the corporeal, decorative, historical, and functional, Clementine Keith-Roach (b. 1984) creates detailed, uncanny sculptures that blur boundaries between object and figure. Her work is inspired by clay’s inherent tactility and sensuality, as well as the immediate physical affinity one feels with antique ceramic containers and their readiness to be anthropomorphized. The resulting works simultaneously celebrate the female form and breathe life into the storied histories of domestic objects. Keith-Roach received a BA in Art History from University of Bristol, Bristol, UK. She has exhibited at Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D’art Contemporain (CRAC), Sète, France; The Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; and Pervilion, Palermo, Italy and London, UK. She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach presented Knots, a two-person exhibition with Christopher Page, at P·P·O·W in June 2022. Keith-Roach’s work is featured on the cover of Art in America’s September 2022 issue illustrating Glenn Adamson’s article Monuments for the Moment, which contextualizes her vessels alongside other influential sculptors including Baseera Khan, Julia Kunin, and Martin Puryear.
Erin M. Riley’s (b. 1985) meticulously crafted, large-scale tapestries depict intimate, erotic, and psychologically raw imagery that reflects upon relationships, memories, fantasies, sexual violence, and trauma. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, the Brooklyn-based weaver exposes the range of women’s lived experiences and how trauma weighs on the search for self-identity. In her review of Riley’s most recent solo exhibition, The Consensual Reality of Healing Fantasies at P·P·O·W, Roberta Smith of the New York Times wrote, “Her richly variegated colors and complex, arresting scenes take full advantage of tapestry’s stitch-by-stitch autonomy.” Riley received her BFA from the Massachusetts College of Art and Design, Boston, MA and an MFA from the Tyler School of Art, Philadelphia, PA. Her work has been included in solo and group exhibitions at P·P·O·W, New York, NY; Galerie Julien Cadet, Paris, France; Kohn Gallery, Los Angeles, CA; Henie Onstad Kunstsenter, Høvikodden, Norway; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY; Gana Art Gallery, Seoul, Korea, among others. Riley is the recipient of a United States Artists Fellowship Grant, 2021 as well as an American Academy of Arts & Letters Art Purchase Prize, 2021 and has completed residencies at MacDowell Colony, New Hampshire and the Museum of Art and Design, New York. Her work is currently on view in 52 Artists: A Feminist Milestone, the Aldrich Contemporary Art Museum, Ridgefield, CT; manifesto of fragility, the 16th Lyon Biennale of Contemporary Art, Lyon, France; and Kingdom of the Ill at Museion, Bolzano, Italy.
In a new series of paintings, Allison Schulnik (b. 1978) responds directly to the present as it unfolds around her, depicting the constant flux between life and death in the desert expanse surrounding her home which sits at the foot of one of Joshua Tree's tallest mountain ranges. 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 purple haze and black silence of the desert. Schulnik lives and works in Sky Valley, CA. Her films have been included in internationally renowned festivals and museums including MASS MoCA, North Adams, MA; the Hammer Museum, Los Angeles, CA; the Los Angeles County Museum of Art, Los Angeles, CA; Annecy International Animated Film Festival, Annency, France; and Animafest Zagreb, Zagreb, Croatia. 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, Oklahoma City, OK; Nerman Museum of Contemporary Art, Overland Park, KS; Mark Moore Gallery, Los Angeles, CA; Zieher Smith, New York, NY; Galeria Javier Lopez & Fer Frances, Madrid, Spain; and SCAD Museum of Art, Savannah, GA. Schulnik’s work can be found in numerous museum collections including the Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Art San Diego, CA; Santa Barbara Art Museum, Santa Barbara, CA; Museé de Beaux Arts, Montreal, Canada; Laguna Art Museum, Laguna, CA; The Crocker Art Museum, Sacramento, CA; Wadsworth Atheneum Museum of Art, Hartford, CT; and The Albright-Knox Gallery, Buffalo, NY. Schulnik’s second solo exhibition with the gallery, Purple Mountain, will open November 4, 2022.
Known for her large-scale paintings of stylized, sentient, yet ambiguously generated female figures, Robin F. Williams (b. 1984) employs a variety of techniques, including oil, airbrush, poured paint, marbling, and staining of raw canvas to create deeply textured and complexly constructed paintings. Forgoing her characteristic use of masking tape, Williams’ new series of paintings play with visual effects such as VHS distortions and analog static found in her filmic references. In Moiréed, 2022, the newest work is this series, Williams depicts Shelley Duvall as Millie Lammoreaux in the 1977 art house film 3 Women. Continuing her examination of cultural contradictions and fundamentalist dichotomies surrounding women’s bodies, Williams depicts Duvall in a moment of defeat, where her repeated attempts to be the “right kind of woman” have failed. Adopting the role of steward, Williams’ depictions of cinematic women, in popularized vulnerable states exposes our communal complicity in the persistent exploitation of the feminine and defies each viewer to end such abuse. Williams received her BFA from the Rhode Island School of Design, Providence, RI. Her work has been included in exhibitions at P·P·O·W, New York, NY; Mrs., Queens, NY; Pace Prints, New York, NY; Various Small Fires, Los Angeles, CA; Columbus Museum of Art, Columbus, OH; Galerie Perrotin, Tokyo, Japan; Hauser & Wirth, New York, NY; Marianne Boesky Gallery, New York, NY; Flag Art Foundation, New York, NY; and Kasmin Gallery, New York, NY, among others. Her work is currently in the permanent collections of the Brooklyn Museum, Brooklyn, NY; Collection Majudia, Montreal, Canada; Columbus Museum of Art, Columbus, OH; Institute of Contemporary Art, Miami, FL; X Museum, Beijing, China; and Montreal Museum of Fine Arts, Montreal, Canada; among others. Williams will present her next solo exhibition at Morán Morán, Mexico City, Mexico in the fall of 2023. Her work is currently on view at the ICA, Miami, FL in Fire Figure Fantasy: Selections from ICA Miami’s Collection, through October 30, 2022.
Carolee Schneemann (1939 – 2019) activated the female nude with a multidisciplinary practice that spanned sixty years and included painting, assemblage, performance, and film. Her paintings from the 1950s, such as Portrait of Jane Brakhage, 1958, harnessed the lineage of Modernism and Abstract Expressionism, but quickly revealed Schneemann's concern for depicting the female form through a uniquely feminist gaze using the artist's own skillful painterly stylization. This particular work was painted during a two week stay with Stan and Jane Brakhage in their Vermont home, and showcases the creative circles that helped foster Schneemann's artistic practice. Despite her deft use of other media, in 1993 Schneemann declared, “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's work has been exhibited worldwide, at institutions including the Los Angeles Museum of Contemporary Art, Los Angeles, CA; the Whitney Museum of American Art, New York, NY; The Museum of Modern Art, New York, NY; the Tate Modern, London, UK; the Centre Georges Pompidou, Paris, France; and The Reina Sofia Museum, Madrid, Spain. The comprehensive retrospective Carolee Schneemann: Kinetic Paintings traveled from Museum der Moderne, Salzburg, Austria (2015), to the Museum fur Moderne Kunst, Frankfurt am Main, Germany (2017) and MoMA PS1, New York (2018). A major survey of Schneemann's work is currently on view at the Barbican Art Centre through January 2023. In 2017, Schneemann was awarded Venice Biennale’s Golden Lion, honoring lifetime achievement.
During the 1970s, Martin Wong (1946-1999) was active in the San Francisco Bay Area art scene and was involved with the performance art groups The Cockettes and Angels of Light. In 1978 he moved to Manhattan, eventually settling in the Lower East Side, where his attention turned exclusively to painting, with an aim to depict the urban life happening right around his apartment. In Wong’s last major body of work before his untimely passing from AIDS-related illness in 1999, the artist focused on depicting his own heritage and painted scenes from New York and San Francisco’s Chinatowns, as seen in Jackson Chow Mein (Theater), 1992. With its clear iconography, trompe l'oeil painted border, and midnight blue palette, this work indexes Wong's compositional prowess and concern for identity in equal measure. Wong's work can be found in museum collections including The Metropolitan Museum of Art, New York, NY; The Museum of Modern Art, New York, NY; The Bronx Museum of The Arts, The Bronx, NY; The Whitney Museum of American Art, New York, NY; The Art Institute of Chicago, Chicago, IL; and the San Francisco Museum of Modern Art, San Francisco, CA. In November 2022, a major retrospective of Wong's work will open at Centro de Arte Dos de Mayo in Madrid, Spain and will travel to KW Institute, Berlin, Germany; Camden Arts Centre, London, UK; and Stedelijk Museum, Amsterdam, the Netherlands.