Nov 24, 2024
Ishi Glinski Duration of Being Known at PPOW in Tribeca
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Ishi Glinski Duration of Being Known at PPOW in Tribeca
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Ann Agee at PPOW Gallery
Inspired by Florentine salt cellars depicting religious imagery, Ann Ageeās contemporary Madonna and child sculptures rethink traditional devotional objects. After an online taster exhibition featuring mother and child sculpture in summer ā20, 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, Ageeās 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 āMadonnas and Handwarmers,ā July 2021.
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 āWork & Natureā (1997), depict people at work ā at a meeting, reading a blueprint, playing guitar and planting a treeĀ - a tribute to the people of this Brooklyn neighborhood. For the artist, these figures symbolize "the pride, dignity, and beauty surrounding all work." Ā See more of Van Dalenās art exploring popular culture and the meaning of home in his show āJunk Kultureā at PPOW Gallery through April 20th.
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 āUsed Tapeā this new show focuses on Rileyās 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, āThe imagery in Rileyās 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. Ā
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Portia Munson, The Garden, at PĀ·PĀ·OĀ·W.
Aaron Gilbert at PPOW Gallery
Even in moments of tenderness and connection, Aaron Gilbertās dead-eyed characters are shaped by the difficulty of their circumstances. In this painting titled āConspirators,ā currently on view at PPOW Gallery, these menās tired expressions suggest theyāre not just sharing a story or chatting but hatching a desperate plan. The scene recalls Charles Whiteās 1942 painting of two working men in close conversation that was recently on view in the Whitneyās Mexican muralist show. But while Whiteās men engage with feeling about the news or activism, Gilbertās 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.