Contemporary society in the United States normalizes the idea of the exhausted mother, so why wouldn’t mother nature be equally exhausted?
PPOW Gallery and the David Wojnarowicz Foundation launched an interactive project dedicated to the artist’s iconic photo-text collage.
The notion of stories, bodies, and selves that change incrementally and radically as they repeat pervades the mesmerizing world of Glaessner’s Phantom Tail.
Funky and elegant by turn, Ann Agee’s ceramic Madonnas testify to an imagination run wild.
Riley’s work positions front and center everyday images of women’s lived experiences, unapologetically centering traumas often swept out of sight.
Ben Gocker isn’t yearning to be released from the impermanence of his body. His work shows his acceptance of nostalgia and melancholy.
Using simple means, often just pencil and paper, van Dalen has made careful, painstaking images of cyborgs, pigeons, and war machines.
Linhares has become a pioneer who paved the way for a generation of women artists to develop their own alternative worlds.
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.
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.
From an increasingly diversified roster of galleries to a surprising slew of rock art, the mega-fair is impressively eclectic this year.
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.