Carolee Schneemann (b. 1939) activated and took control over the formerly mute female nude with a multidisciplinary practice that includes painting, assemblage, performance, and film. By connecting the kinetic nature of her paintings and assemblages to her radical performances and films, Schneemann’s work has made a permanent mark on the history of art. P·P·O·W will present “Noise Bodies”, her 1965 “body sound system” involving costumes made from found objects activated by the artist and her then-partner James Tenney, with whom she also collaborated on her seminal early film “Fuses” 1964-67. “Noise Bodies” was first presented at the 3rd Annual Festival of the Avant Garde in Judson Hall New York City. Schneemann’s work has been exhibited worldwide at institutions including the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art and The Museum of Modern Art, New York; the Tate Modern, London; the Centre Georges Pompidou, Paris; and The Reina Sophia Museum, Madrid. Her published books include Cezanne; She Was a Great Painter (1976); Early and Recent Work (1983); More Than Meat Joy: Complete Performance Works and Selected Writings (1979); Correspondence Course (2010) by Kristine Stiles, and Imaging Her Erotics – Essays, Interviews, Projects (2002). Carolee Schneemann: Kinetic Paintings, a comprehensive retrospective of Schneemann’s work, recently traveled from Museum der Moderne, Salzburg (2015), to the Museum fur Moderne Kunst, Frankfurt am Main, Germany (2017) and concluded at MoMA PS1, New York last year. “Chromelodeon” 1963, another of Schneemann’s early action installations, will be presented in Judson Dance Theater: The Work Is Never Done, opening September 16, 2018 at the Museum of Modern Art, New York.

­­­­Ann Agee (b. 1959) investigates domesticity, material culture, feminism, and personal history to create ceramic sculptures and mixed media installations that explore appropriation, mimicry, and reproduction. P·P·O·W is delighted to present her 1992 porcelain and stoneware installation “Lake Michigan Bathroom”, which she created in residency at the Kohler Arts Center in Sheybogan, WI. Exploring bodily functions, hygiene, pollution, and wastewater treatment, this piece consists of a toilet, bidet, urinal, sink, and water fountain which extend from a tiled wall. All elements are painted in blue glaze in the tradition of English Delftware, a visual style informed by earlier traditions in Chinese pottery. This iconic work was first exhibited in 1994 in the New Museum’s Bad Girls exhibition and remains an important example of Agee’s three-decade career challenging the forms, applications, and utility of ceramics. Ann Agee has presented installations at the Brooklyn Museum of Art, NY and the Philadelphia Museum of Art, PA, and her work has been included in notable ceramics exhibitions, including Dirt on Delight, Institute of Contemporary Art, PA and the Walker Art Center, MN, and Conversations in Clay, Katonah Art Museum, NY.  In 2011 she was awarded the John Simon Guggenheim Fellowship, and has also been the recipient of The Louis Comfort Tiffany Foundation Award and a National Endowment for the Arts Fellowship, among others. Her works are included in the permanent collection of notable institutions including: The Brooklyn Museum of Art, NY; The Philadelphia Museum of Art, PA; The RISD Art Museum, RI; The Los Angeles County Museum of Art, CA; The Henry Art Museum in Seattle, WA; The Kohler Art Center in Sheboygan, WI; and The Museum of Contemporary Art in Miami, FL. Agee lives and works in Brooklyn.

Joe Houston (b. 1962) distills views of the everyday world into iconic images that examine our uneasy relationship to the natural environment and, ultimately, to one another. Executed with exacting detail and nuance, his evocative works also serve as a meditation on the precarious endeavor of painting in our time. “TAG” 2018 depicts a hand grasping a restless bird in an effort to tag its foot with a tracking number. This small, masterful painting engages with our need to define, harness, and control the natural world, as well as the current politics surrounding human migration and immigration. For Houston, this work also refers to personal identifications and his decision to put painting on hold for two decades while he pursued an alternate practice as a contemporary curator and author. 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 Colony, and the Bemis Foundation. His work is in numerous collections including the Allen Memorial Arts Museum, MIT List Visual Arts Center, RISD Museum, and Yale University Art Gallery.

Carlos Motta (b. 1978) examines multicultural political histories of those oppressed for their sexuality and gender in projects that engage an array of media, including installation, video, photography, and sculpture. P·P·O·W will present two works from Motta’s 1996 series of photographic self-portraits that depict the then 18-year old artist posing naked with a skull, reinterpreting the 17th century vanitas motif. Motta’s work has been exhibited at the Tate Modern, London; the New Museum, the Guggenheim Museum, and MoMA/PS1, New York; the Institute of Contemporary Art, Philadelphia; the Museo de Arte del Banco de la República, Bogota; Serralves Museum, Porto; the Museu d’Art Contemporani, Barcelona; the National Museum of Contemporary Art, Athens; the Sala de Arte Público Siqueiros, Mexico; Castello di Rivoli, Turin; CCS Bard Hessel Museum of Art, Annandale-on-Hudson; San Francisco Art Institute; Hebbel am Ufer, Berlin; and X Lyon Biennale; among others. Motta was awarded the Main Prize of the Future Generation Award, Pinchuk Art Centre, Kiev in 2014 and a Guggenheim Fellowship in 2008. He has received grants from Art Matters, NYSCA, and the Creative Capital Foundation. Motta lives and works in New York City and is a professor at Parsons, The New School of Design. L’Oeuvre du Diable, Motta’s second solo exhibition with Mor Charpentier, is currently on view in Paris. His second solo exhibition with P·P·O·W will open in April 2019.