P·P·O·W is pleased to present works by Grace Carney, Kyle Dunn, Elizabeth Glaessner, Ishi Glinsky, Joe Houston, Gerald Lovell, Guadalupe Maravilla, Erin M. Riley, Robin F. Williams, and Martin Wong.
Referencing Japanese Shunga, Baroque and Renaissance painting, contemporary media, and her own body, Grace Carney (b. 1992) eschews easy categorization in her practice with two self-contained bodies of work: her large-scale works on paper and her paintings. Featuring entangled limbs and contorting musculature, Carney’s drawings explore the physical experience of the human body, blurring the lines between anger and love; aggression and submission; movement and confinement. Similarly, her gestural oil paintings reflect an underlying interest in liminal spaces, embracing the ambiguity and messiness of the paint itself. Wrestling with distinct personal narratives and relationships, Carney imbues the manifold layers of her paintings with traces of her emotional experience, burying them within the murkiness of the paint. Carney received her BFA from the Rhode Island School of Design, Providence, RI, in 2014, and received her MFA in Painting from the New York Studio School, New York, NY, in 2022. Carney was awarded the Jane C. Carrol Scholarship in 2020-2022 and the Hohenberg Travel Grant in 2022. Her work has been exhibited in I’m Not Your Mother at P·P·O·W, New York, NY, and Three Women: Grace Carney, Jeane Cohen, Abigail Dudley at Steven Harvey Fine Arts Projects, New York, NY. Wrestle, her first solo exhibition in Europe, was on view at Beacon Gallery, Munich, Germany, in the winter of 2022. Carney will open her first solo exhibition at P·P·O·W in 2024.
In his luminous and emotionally complex paintings, Kyle Dunn (b. 1990) depicts scenes of isolation and romantic connection in a modern world where the barrier between public and private life is ever more porous. The composite figures in his work are often caught in moments of solitude or interior self-reflection, offering at first glance scenes of domestic intimacy–but dueling elements of the theatrical and the mundane invite the viewer to question what they are seeing versus what they are projecting. The emotional tenor of the scenes is heightened by a pervasive liquid eroticism and theatrical lighting, only to be undercut with moments of careful observation and quiet humor. Dunn’s work mines the tension created between this cinematic drama and personal introspection to explore the fraught relationship between artist and subject, between one lover and another, and between individual and society. Dunn lives and works in Brooklyn, 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; the Sunpride Foundation, Kowloon, Hong Kong, and X Museum, Beijing, China. In 2022, his work was exhibited at the ICA, Miami, FL in Fire Figure Fantasy: Selections from ICA Miami’s Collection. Dunn will be included in a group show at Galerie Judin, Berlin, this fall and his first institutional solo exhibition will open at the Wadsworth Atheneum Museum of Art, Hartford, CT in June 2024. Dunn has been featured in various publications including The New York Times, AnOther Magazine, W Magazine, and Juxtapoz among others.
Elizabeth Glaessner (b. 1984) conjures a saturated, densely layered world of transformation and multiplicity. Inviting amorphousness in her subjects and environments, Glaessner’s surreal universe is populated by evocative forms in various states of becoming or undoing. Rich with art historical and cultural allusions, her work offers no narratives or fables, but rather evokes nebulous atmospheres unmoored by virtue and vice. Working in oil, acrylic and pure pigments dispersed with water and various binders, Glaessner’s technique shifts between formal articulation and non-representational gesture. Glaessner was born in Palo Alto, California and grew up in Houston, Texas. After receiving her BA from Trinity University in 2006, she moved to New York and completed her MFA at the New York Academy of Art in 2013. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013, a residency at GlogauAIR, Berlin in 2013 and a residency at the Leipzig International Art Programme in 2012. In February 2022, P·P·O·W presented Phantom Tail, Glaessner’s third solo exhibition with the gallery. Four Legs in a Garden, the first institutional solo presentation of Glaessner’s work, was on view at Le Consortium, Dijon, France, from February 4 through May 22, 2022. Glaessner presented Dead Leg, her first solo exhibition at Perrotin, Paris, France, in fall 2022. Her first solo show with François Ghebaly, Los Angeles, will open in spring 2024.
Born and raised in Tucson, Arizona, Ishi Glinsky (b. 1982) grounds his multidisciplinary practice in an exploration of the traditions of his tribe, the Tohono O’odham Nation, as well as other North American First Nations. Working in a variety of media, including painting, drawing, and sculpture, Glinsky honors Indigenous histories by creating contemporary tributes to sacred practices, subsequently integrating the past with the present. “My work is a visual retelling of the beauty and at times a horrific side of ‘history,’” states Glinsky. “Moments in time or artifacts are filtered through my work as a concept in hopes to provide a new platform for observation.” Glinsky lives and works in Los Angeles, California. He has presented solo exhibitions at Chris Sharp Gallery, Los Angeles, CA; Visions West, Denver, CO; These Days, Los Angeles, CA; Open Studio, Tokyo, Japan; Four Corners Gallery at Tucson Desert Art Museum, Tucson, AZ; Thvm Studios, Los Angeles, CA; and BPMW, Los Angeles, CA. In 2022, Glinsky presented his first institutional survey, Upon A Jagged Maze, curated by Gabriel Ritter, at The Art, Design & Architecture Museum at UC Santa Barbara, CA. His work is currently on view in Indian Theater: Native Performance, Art, and Self-Determination since 1969 at the Hessel Museum of Art, Bard College, Annandale-On-Hudson, NY and is included in Made in LA, 2023: Acts of Living at the Hammer Museum, Los Angeles, CA. His first solo exhibition with P·P·O·W will open in fall 2024.
Since first exhibiting with P·P·O·W in 1986, Joe Houston (b. 1962) has distilled timely environmental and social concerns into modestly scaled paintings of commonplace objects and gestures. Executed with exacting detail and nuance, his evocative works also serve as a meditation on the precarious endeavor of painting in our time. Houston pursued undergraduate studies at the School of the Art Institute of Chicago and earned his MFA from Northwestern University’s Department of Art Theory & Practice. His honors include an Illinois Arts Council Fellowship, a Pollock-Krasner Foundation Grant, and residencies at Yaddo, MacDowell and the Bemis Foundation. Houston’s work is in numerous public collections including the Allen Memorial Arts Museum, MIT List Visual Arts Center, Progressive Collection, RISD Museum, Vehbi Koç Foundation, and Yale University Art Gallery.
For Gerald Lovell (b. 1992), painting is an act of biography. Combining flat and impressionistic painting with thick daubs of impasto, Lovell’s work records a deep commitment to fostering alternative community narratives by imbuing his subjects with social agency and self-determinative power, while also revealing individualistic details that lay their essential humanity bare. Born in Chicago to Puerto Rican and Black parents, Lovell began painting at the age of 22 after dropping out of the graphic design program at the University of West Georgia. He has exhibited at P·P·O·W, New York; Jeffrey Deitch, Moore Building, Miami, FL; Anthony Gallery, Chicago, IL; Kohn Gallery, Los Angeles, CA; The Harvey B. Gantt Center for African-American Arts + Culture, Charlotte, NC; and MINT, Atlanta, GA, among others. Lovell’s work was recently on view in What is left unspoken, Love at the High Museum of Art, Atlanta, GA, and Everything I do has an underlying political question, Peter Kilchmann, Zurich, Switzerland. Fever Dream, Lovell’s second exhibition with P·P·O·W, will open in January 2024.
Combining sculpture, painting, performative acts, and installation, Guadalupe Maravilla (b. 1976) grounds his transdisciplinary practice in activism and healing. Engaging a wide variety of visual cultures, Maravilla’s work is autobiographical, referencing his unaccompanied, undocumented migration to the United States due to the Salvadoran Civil War. Across all media, Maravilla explores how the systemic abuse of immigrants physically manifests in the body, reflecting on his own battle with cancer. Maravilla 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, NY; the Solomon R. Guggenheim Museum, New York, NY; the Whitney Museum of American Art, New York, NY; Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain; the Institute of Contemporary Art, Miami, FL; the Henie Onstad Kunstsenter, Olso, Norway; the Brooklyn Museum, Brooklyn, NY; Hirshhorn Museum, Washington, DC; and the Blanton Museum of Art, Austin, TX, among others. He has presented solo exhibitions at the Museum of Modern Art, New York, NY; Brooklyn Museum, Brooklyn, NY; Museum of Contemporary Art, Denver, CO; Henie Onstad Kunstsenter, Oslo, Norway; Socrates Sculpture Park, New York, NY; P·P·O·W, New York, NY; and the Institute of Contemporary Art, Miami, FL, among others. Guadalupe Maravilla: Mariposa Relámpago, a solo exhibition featuring a newly commissioned immersive installation at the Institute of Contemporary Art, Boston’s Watershed, was on view from May 25 - September 4, 2023. His work is currently on view in the 12th Göteborg International Biennial for Contemporary Art: forms of the surrounding futures, Gothenburg, Sweden and the 35th Bienal De São Paulo: choreographies of the impossible, São Paulo, Brazil. La Alegría del Fuego, Maravilla’s first solo exhibition with mor charpentier, is on view through November 18, 2023.
Erin M. Riley (b. 1985) weaves meticulously crafted, large-scale tapestries that depict intimate, erotic, and psychologically raw imagery. Collaging personal photographs, images sourced from the internet, newspaper clippings, and other ephemera to create her compositions, she exposes the range of women’s lived experiences and how trauma weighs on the search for self-identity. Riley notes, “To see any textile is to experience the journey of the maker.” Riley received her BA from the Massachusetts College of Art and Design and an MFA from the Tyler School of Art. 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. Her work was recently featured in 52 Artists: A Feminist Milestone at The Aldrich Contemporary Art Museum, CT, manifesto of fragility, the 16th Lyon Biennale of Contemporary Art, and Kingdom of the Ill at Museion, Bolzano, Italy. Riley’s work is on view in The Myth of Normal at MassArt, Boston, MA, through May 2024. In 2024, she will present solo exhibitions at UTA Artist Space, Los Angeles, CA, and Galerie Julien Cadet, Paris, France.
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. Combining a masterful technical understanding with an innate sense of curiosity, Williams fuses practices from social media channels such as Instagram, TikTok, and YouTube with references to early modernism, pop culture, advertising, and cinema, to challenge the systemic conventions around representations of women. Williams received her BFA from the Rhode Island School of Design and has presented solo exhibitions at P·P·O·W, New York, NY; Various Small Fires, Los Angeles, CA; Bard College at Simon’s Rock, Great Barrington, MA; and Jack the Pelican Presents, Brooklyn, NY. Her work has been featured in numerous group exhibitions nationally and internationally including In New York, Thinking of You (Part I), Flag Art Foundation, New York, NY; I’m Not Your Mother, P·P·O·W, New York, NY; Fire Figure Fantasy, ICA Miami, Miami, FL; Present Generations, Columbus Museum of Art, Columbus, OH; Bitter Nest, Galerie Perrotin, Tokyo, Japan; XENIA: Crossroads in Portrait Painting, Marianne Boesky Gallery, New York, NY; Nicolas Party: Pastel, Flag Art Foundation, New York, NY; SEED, curated by Yvonne Force, Paul Kasmin Gallery, New York, NY; and more. 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; among others. Williams’ solo exhibition, Watch Yourself, is currently on view at Morán Morán, Mexico City, Mexico through November 4.
Martin Wong (1946-1999) was born in Portland, Oregon and raised in San Francisco, California. He studied ceramics at Humboldt State University, graduating in 1968, and was active in the performance art groups The Cockettes and Angels of Light before moving to New York in 1978. He exhibited for two decades at notable downtown galleries including EXIT ART, Semaphore, and P·P·O·W, among others, before his passing in San Francisco from an AIDS related illness. His work is represented in the collections of The Metropolitan Museum of Art, New York, NY; Museum of Modern Art, New York, NY; Bronx Museum of the Arts, New York, NY; Whitney Museum of American Art, New York, NY; Cleveland Museum of Art, Cleveland, OH; Art Institute of Chicago, Chicago, IL; and the San Francisco Museum of Modern Art, San Francisco, CA, among others. Human Instamatic, a comprehensive retrospective, opened at the Bronx Museum of the Arts in November 2015, before traveling to the Wexner Center for the Arts in 2016 and the UC Berkeley Art Museum and Pacific Film Archive in 2017. In late 2022, the first extensive, touring exhibition of Wong’s work in Europe, Martin Wong: Malicious Mischief, debuted at the Centro de Arte Dos de Mayo in Madrid, before travelling to the KW Institute for Contemporary Art in Berlin, and the Camden Art Centre in London. Curated by Krist Gruijthuijsen and Agustín Pérez-Rubio, the final leg of the exhibition will open at the Stedelijk Museum, Amsterdam, in November 2023.