Ben Gocker isn’t yearning to be released from the impermanence of his body. His work shows his acceptance of nostalgia and melancholy.
Tag: PPOW Gallery
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Anton van Dalen’s Valuable Lessons
Using simple means, often just pencil and paper, van Dalen has made careful, painstaking images of cyborgs, pigeons, and war machines.
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In Judith Linhares’s Sinless World
Linhares has become a pioneer who paved the way for a generation of women artists to develop their own alternative worlds.
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Examining the Underbelly of US Culture: Gun Violence, White Supremacy, and Greed
Sandow Birk’s investigation of US culture and politics is unusual in that its own explicit politics are not overly didactic — a difficult line to walk successfully.
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Charlie Ahearn on Documenting the Rise of Hip-Hop
Charlie Ahearn talks about his new work and memories of the beginnings of hip-hop ahead of his exhibition at P.P.O.W. Gallery and movie screening at Metrograph.
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Strong Solo Booths, Leo Lookalikes, and Plenty of Trends at Frieze New York
From an increasingly diversified roster of galleries to a surprising slew of rock art, the mega-fair is impressively eclectic this year.
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Life and Death in Portia Munson’s Garden
The centerpiece of her new exhibition at PPOW is “The Garden” (1996–98), a kaleidoscopic, room-filling installation housing hundreds if not thousands of artificial flowers under a canopy of sewn together flower print dresses.
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Artist Anton van Dalen on the East Village, Saul Steinberg, and Pigeon Keeping
Next time you’re walking through the East Village, take a moment to look up at the skies over Tompkins Square Park. You might just spot Anton van Dalen’s flock of snow-white pigeons. The artist, who first learned to rear the birds at the age of twelve, is one of the few remaining pigeon keepers in Lower Manhattan.
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Perverting the Prescriptions of Womanhood
The Woman Destroyed, currently on view at PPOW Gallery, takes as its organizing theme the 1967 Simone de Beauvoir book of the same title, comprised of three stories that explore the personal crises of middle-aged and aging women.
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An Artist’s Highly Personal History of AIDS
One might be led to think, from the title of Hunter Reynold’s current exhibition at PPOW Gallery, Survival AIDS Medication Reminder, that the show deals with issues of health and physical condition, or perhaps reminiscence.
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Jessica Rohrer’s View of the Heaven on Earth Club
“Something strange is creeping across me.” The first line of John Ashbery’s poem, “Daffy Duck in Hollywood,” came to mind while I was scrutinizing the modestly scaled, seemingly benign works included in Bloomfield, Jessica Rohrer’s latest exhibition of paintings and works on paper at PPOW.