ppowgallery

We are pleased to present “Are My Hands Clean?,” #RajkamalKahlon’s second solo exhibition with the gallery, opening Friday, January 10 at 390 Broadway, 2nd floor.   Kahlon’s artistic work builds on twenty years of extensive research into drawing and painting as sites of political resistance. In this exhibition, Kahlon brings together three bodies of work that incorporate pages ripped from controversial early 20th century German anthropological and scientific books. Overlaying enlarged photographs of anonymous women from within these texts, Kahlon hand-colors her surfaces in fields of vibrant hues before adorning her subjects in garments and accessories inspired by histories of fashion, radical feminists, and Third World armed revolutionaries. Through this process of material and historical layering, Kahlon recuperates humanity for these unnamed women and, in doing so, “talks back”—to the original authors, to the discipline of anthropology, to Western knowledge production, and to U.S. imperial violence.   “Are My Hands Clean?” will be on view January 10 - February 15, 2025 at 390 Broadway, 2nd floor.   📷: Rajkamal Kahlon, “Solidarity Forever: Between Havana, Bandung and Belgrade (from “Do You Know Our Names?”),” 2024, mixed media on archival photo-rag paper, 33 1/8 x 46 7/8 ins.

Don’t miss the final days of “Legacies: Asian American Art Movements in New York City (1969-2001)” featuring works by #DinhQLê and #MartinWong, on view at @nyuniversity’s @80WSE Gallery through this Friday, December 20.   Organized by @mistermisterchen, @notjanecole, and @callmedoctorong, the exhibition is an expansive survey of rarely-seen artwork and archival material by artists that constitute and exceed ‘Asian American,’ a label denoting a cultural and national identity invented in 1968. Utilizing an interdisciplinary and research-driven praxis, “Legacies” uncovers how artists of Asian descent have historically negotiated identity in America as a set of situated practices and institutional structures amidst transnational diasporas, racial phantasms, and political imaginaries.   “Legacies” is on view at @nyuniversity’s #80WSE Gallery through Friday, December 20.   📷: Dinh Q. Lê, “Untitled from Cambodia Series,” 1998, lithograph on somerset satin paper, 39 x 30 ins.   📷: Martin Wong, “Hector Macho Comacho,” c. 1990, acrylic on canvas, 14 x 10 ins.

“Above Ground: Art from the #MartinWong Graffiti Collection” is currently on view at @museumofcityny.   In her review of the exhibition for @artnet, Min Chen writes, “In the early 1970s, the pioneer generation of graffiti writers from A-One to Zephyr were making their presence known on New York’s streets and subways. Theirs were wild, energetic styles that caught the ire of the authorities—but more significantly, they also captured the eye of gallerists and fellow artists.”   “Most poignantly,” Chen continues, “the exhibition acutely reflects the positive effect of patronage—specifically Wong’s—on the nascent art form. Wong’s support did not stop at snapping up these canvases; his presence is woven through their back stories. You get a sense of it in a documentary, filmed by Charlie Ahearn of ‘Wild Style’ fame, that screens in the gallery: in it, archival interviews with Wong are interspersed with contemporary footage of artists including Daze and Quiñones discussing their time with Wong and the works he collected.”   Read the full review at news.artnet.com, and don’t miss #AboveGround, on view at the Museum of the City of New York through August 10, 2025.

In his “Top Ten” list for 2024 for @artforum, @ekoweshun’s highlights @hewdjlocke’s ongoing exhibition at @britishmuseum, “what have we here?”   Eshun writes, “’what have we here?’ asked Hew Locke at the British Museum, and the answer was an exhibition I’d been waiting to see for years. Invited to curate a show bringing together his work and items from the museum’s collection, Locke gathered over 150 objects, each with its own charged history, to detail a story of British imperial power, violence, and hypocrisy. Compelling and kaleidoscopic, the exhibition merges beauty with horror and mordant humor to expose the self-serving belief, still widely held in Britain, that the empire was a benign enterprise. Here, in riposte, is history told from the perspective of the colonized, not the colonizer.” Read #EkowEshun’s full Top Ten at artforum.com, and don’t miss #HewLocke’s “what have we here?” on view at the #BritishMuseum through February 9, 2025

Thank you @johannafateman for featuring @hilaryharkness’s debut monograph “Everything for You,” published this year by #BlackDogPress, in @cultured_mag’s “The Year in Art Books.”   Fateman writes, “Narratively scrambled, pictorially complex queer worlds have long been Harkness’s métier, the scope of her dazzling, detailed work shows. Strange, painstakingly rendered pictures, like transmissions from lesbian corners of the multiverse—cross-sections of battleships manned by women and imagined moments shared by Gertrude Stein and Alice B. Toklas—demand the kind of close study that, luckily, this beautiful volume affords.”   Read the full review at culturedmag.com and pick up your copy of #HilaryHarkness’s “Everything for You” at blackdogonline.com.

Discussing new works by @Guadalupe__Maravilla’s from our presentation at @artbasel Miami Beach 2024, @grace.l.ebert writes for @colossal, “In a series of sculptures, Guadalupe Maravilla draws on his home country as he sculpts backpacks and enlarged hands from volcanic rock. The works reference the artist’s migration from civil war-era El Salvador as an unaccompanied minor, a traumatic journey that remains a central theme in his practice.”   Ebert continues, “Citing resilience amid struggle, Maravilla’s sculptures call on healing and regeneration. Volcanic ash, after all, is one of the most potent natural fertilizers and a key factor in sparking new growth.”   Read the full article on #GuadalupeMaravilla at thisiscolossal.com.

“Hunter Reynolds / Dean Sameshima: Promiscuous Rage” opens today at 392 Broadway.    This presentation marks the first exhibition of #HunterReynolds’s work since the artist’s passing in 2022, as well as the first display in New York of @dean_sameshima’s iconic “Anonymous Portrait” series. Taken together, the paintings, photo-weavings, and interactive installation on view index an archive of underrecognized texts and figures foundational to both artists’ sense of self, and through their display highlight the synchronous feelings of loss and empowerment that accompany the open expression of twentieth-century gay culture. These two artists create an intergenerational pairing deeply concerned with the investigation and preservation of queer histories, their concomitant subcultures, and inherent gaps.   Join us tonight from 6-8pm for the opening reception of “Hunter Reynolds / Dean Sameshima: Promiscuous Rage,” on view at 392 Broadway, December 13, 2024 – January 25, 2025.   Following the opening, a daylong activation of #HunterReynolds’s “Dialogue Table 3” will take place Saturday, December 14, from 11am - 5pm. No RSVP is necessary. Please visit ppowgallery.com for more information on the speakers.

In collaboration with @motherstankstation, we are pleased to present new works by @erinmriley in “Look Back at it,” a solo presentation as part of @condo_complex London 2025 opening January 18, 2025.   Condo is an innovative, collaborative exhibition bringing together 49 galleries across 22 London spaces. Presenting a new body of work exploring questions of the ‘self,’ autonomy, worth, and purpose, this will be first showcase of Riley’s work with #motherstankstation.   #ErinMRiley’s “Look Back at it” and Condo London 2025 will be on view from January 18 through February 15, 2025. Erin M. Riley, “Webcam Control,” 2024, wool, cotton, 59 x 48 ins.

Happy birthday, @guadalupe__maravilla ❤️‍🔥🪨 We wish you the happiest of birthdays and thank you for sharing your work with all of our visitors here in Edinburgh at @talbotricegallery. Today we’re remembering with gratitude the brilliant Sound Ceremony and opening of Piedras de Fuego (Fire Stones) that took place at the end of October ❤️ Have a wonderful day, Guadalupe 🎈

In conjunction with the forthcoming exhibition “Hunter Reynolds / Dean Sameshima: Promiscuous Rage,” opening tomorrow, December 13 at 392 Broadway, we are pleased to host a daylong activation of #HunterReynolds’s “Dialogue Table 3, My First Year Out,” 1992, this Saturday, December 14, from 11am-4pm.   The event will feature @emotrophywife, @agaywhitemale & @angelic_transmissions, @hilaryharkness & @black_abstraction, @carlosalejandromotta & #TreyHollis, and @dean_sameshima, all of whom will sit at the “Dialogue Table” for hourlong discussions, inviting the public to participate by joining them in collective conversation. Timings for each speaker to be announced soon.   An installation-cum-library, “Dialogue Table 3, My First Year Out” is a collection of publications, periodicals, and Polaroids that reveal Reynolds’s own interests and fantasies, while simultaneously inviting participatory engagement. As the title of the work implies, Reynolds would activate this sculptural library during his lifetime, encouraging dialogue and communal remembrance through the aesthetic combination of image, text, and personal recollection, thereby democratizing the gallery space. For both Reynolds and Sameshima, this accumulation of lost figures and texts, lovers and smut, turns the political into the personal, in memorialization of the past and in pursuit of a liberation still in progress.   The opening reception of #PromiscuousRage will take place this Friday, December 13 from 6-8pm.   Then join us Saturday, December 14 from 11am-4pm to take part in the activation. No RSVP necessary.

“Electric Dreams: Art and Technology Before the Internet,” a major group exhibition featuring works by #SuzanneTreister,” is currently on view at @tate Modern.   In her review of the exhibition for @nytimes, @emilylabarge writes, “Suzanne Treister’s ‘Fictional Video Game Stills’ (1991-2) offer dark, anarchic prompts to viewers: ‘Please enact repetition of the crime,’ ‘Error in finding question,’ or simply, ‘No message.’ Treister’s game, which cannot be played, confronts the viewer with the idea that technology plugs us into a dark shared psyche, an unpredictable network.”   Read the full review at nytimes.com and don’t miss #ElectricDreams at #TateModern through June 1, 2025.

Thank you to everyone who visited our booth at @artbasel Miami Beach this past week, and to @voguemagazine for including us in their “Friendly Guide to the Standout Booths at Art Basel Miami Beach.” 
@salomegomezu wrote, “Alongside an impressive series of works by artists such as @guadalupe__maravilla and @carlosalejandromotta, a sprawling series of miniature drawings by multimedia artist @arpzap steals the spotlight at #PPOW’s booth. Displayed on a labyrinth of minimalist wooden tables, these images, evocative of tarot cards, delve into themes related to the subconscious mind.”   Continuing, “Meanwhile, at Meridians, the fair’s section dedicated to monumental installations, the New York-based gallery presents ‘Bound Angel (2021),’ a breathtaking work by American artist @portiamunson that draws urgent connections between mass production, gender equality, and ecological devastation.”   Read the full #Vogue article at vogue.com.