P·P·O·W is pleased to present works by Grace Carney, Jimmy DeSana, Elizabeth Glaessner, Clementine Keith-Roach, Gerald Lovell, Shellyne Rodriguez, Allison Schulnik, Astrid Terrazas, and Robin F. Williams.
Defined by their ambiguity and freedom in both color and form, the large-scale paintings created by Grace Carney (b.1992) reference Japanese Shunga, Baroque and Renaissance painting, contemporary media, and her own body. Carney lives and works in New York City. She received her BFA from the Rhode Island School of Design, Providence, RI in 2014, and received her MFA in Painting from the New York Studio School, New York, NY in 2022. Carney was awarded the Jane C. Carrol Scholarship in 2020-2022 and the Hohenberg Travel Grant in 2022. Her work has been exhibited in I’m Not Your Mother at P·P·O·W, New York and Three Women: Grace Carney, Jeane Cohen, Abigail Dudley at Steven Harvey Fine Arts Projects, New York. Wrestle, her first solo exhibition in Europe, was on view at Beacon Gallery, Munich, Germany, in the winter of 2022. P·P·O·W will feature Carney’s work in a two-person booth with Jessica Stoller at Independent in May 2023 and will open her first solo exhibition with the gallery in 2024.
A key figure in the New York downtown scene of the 1970s and 80s, Jimmy DeSana (1949-1990) created a body of photography that evinces a singular style typified by concealed figures, saturated colors, and surreal mise-en-scène, with subject matter that indexes the artist’s fascination with American suburbia and queer fetish subculture in equal measure. Throughout his career, DeSana seamlessly blended the tropes of fashion photography, camp sensibility, and experimental art, resulting in images that are simultaneously relatable in their use of quotidian settings, yet entirely otherworldly in their depiction. DeSana grew up in Atlanta, GA, and received his bachelor’s degree from the Georgia State University in 1972 before relocating to New York’s East Village in the early 1970s. Recent solo and two-person exhibitions include The Sodomite Invasion: Experimentation, Politics and Sexuality in the work of Jimmy DeSana and Marlon T. Riggs, Griffin Art Projects, Vancouver, Canada, 2020, and Remainders, Pioneer Works, Brooklyn, NY, 2016. DeSana’s work was recently included in the group exhibition Somewhere Downtown: Art in 1980s New York, curated by Carlo McCormick and Peter Eleey, at UCCA, Beijing. A retrospective of DeSana’s work, Jimmy DeSana: Submission, is now on view at the Brooklyn Museum, New York, through April 16, 2023, accompanied by a catalogue co-published by the Brooklyn Museum and DelMonico Books. Jimmy DeSana: The Dungeon Series, 1978-79 is currently on view at P·P·O·W through March 11.
Elizabeth Glaessner (b. 1984) conjures a saturated, densely layered world of transformation and multiplicity. Inviting amorphousness in her subjects and environments, Glaessner’s surreal universe is populated by evocative forms in various states of becoming or undoing. Rich with art historical and cultural allusions, her work offers no narratives or fables, but rather evokes nebulous atmospheres unmoored by virtue and vice. Working in oil, acrylic and pure pigments dispersed with water and various binders, Glaessner’s technique shifts between formal articulation and non-representational gesture. Glaessner was born in Palo Alto, California, and grew up in Houston, Texas. After receiving her BA from Trinity University, San Antonio, TX, in 2006, she moved to New York and completed her MFA at the New York Academy of Art in 2013. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013, a residency at GlogauAIR, Berlin in 2013 and a residency at the Leipzig International Art Programme in 2012. In February 2022, P·P·O·W presented Phantom Tail, Glaessner’s third solo exhibition with the gallery. Four Legs in a Garden, the first institutional solo presentation of Glaessner’s work, was recently on view at Le Consortium, Dijon, France. Glaessner presented Dead Leg, her first solo exhibition at Perrotin, Paris, France this fall.
Fusing the corporeal, decorative, historical, and functional, Clementine Keith-Roach (b. 1984) creates detailed, uncanny sculptures that blur boundaries between object and figure. Her work is inspired by clay’s inherent tactility and sensuality, as well as the immediate physical affinity one feels with antique ceramic containers and their readiness to be anthropomorphized. “Keith-Roach’s vessels often seem to tell the story of their own becoming, with surrealistically disembodied hands applying light touches to the surface,” Glenn Adamson wrote of Keith-Roach’s work in Art in America. Keith-Roach received a BA in Art History from University of Bristol, Bristol, UK. She has exhibited at Ben Hunter Gallery, London, UK; MOCA, Los Angeles, CA; Blue Projects, London, UK; Centre Regional D’art Contemporain (CRAC), Sète, France; The Villa Lontana, Rome, Italy; Open Space Contemporary, London, UK; and Pervilion, Palermo, Italy and London, UK. She is also an editor of Effects, a journal of art, poetry and essays. Keith-Roach presented Knots, a two-person exhibition with Christopher Page, at P·P·O·W in June 2022. Her work is currently on view in Wonder and Wakefulness: The Nature of Pliny the Elder at the Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY.
For Gerald Lovell (b. 1992), painting is an act of biography. Combining flat and impressionistic painting with thick daubs of impasto, Lovell’s monumental portraits depict loving scenes often lost to the abyss of memory. Lovell’s portraits refuse the notion that all Black figures put down on canvas are somehow political. Rather, his work records a deep commitment to fostering alternative community narratives by imbuing his subjects with social agency and self-determinative power, while also revealing individualistic details that lay their essential humanity bare. Born in Chicago to Puerto Rican and Black parents, Lovell began painting at the age of 22 after dropping out of the graphic design program at the University of West Georgia. He has exhibited at P·P·O·W, New York; Jeffrey Deitch, Moore Building, Miami, FL; Anthony Gallery, Chicago, IL; Kohn Gallery, Los Angeles, CA; The Harvey B. Gantt Center for African-American Arts + Culture, Charlotte, NC; and MINT, Atlanta, GA, among others. Lovell’s work was recently on view in What is left unspoken, Love at the High Museum of Art, Atlanta, GA. Lovell’s second solo exhibition with the gallery will open in January 2024.
Shellyne Rodriguez (b. 1977) is a Bronx-based artist, educator, historian, writer, and community organizer who works in a variety of media, including drawing, painting, collage, and sculpture. Rodriguez stewards the histories and stories of people that have shaped her lived experience, describing her practice as “the depiction and archiving of spaces and subjects engaged in strategies of survival against erasure and subjugation.” Through her multidisciplinary practice, Rodriguez documents the ways in which the diverse social fabric of the South Bronx is rewoven as the people and cultures coexist. Rodriguez utilizes language as well as cultural and sociopolitical references to create unified portraits of individuals from various communities formed in what she describes as the “periphery of empire.” Rodriguez earned her MFA from Hunter College in studio art and her BFA in visual and critical studies from the School of Visual Arts. Her work has been shown at The Nathan Cummings Foundation, New York, NY; Cue Art Foundation, New York, NY; Casa Warmu, Quito, Ecuador; Queens Museum, New York, NY; and El Museo del Barrio, New York, NY, among others. Rodriguez will present her first solo exhibition with the gallery in March 2023.
Working in paint, sculpture, and animation, Allison Schulnik (b. 1978) seamlessly transitions between mediums, imbuing her work with a distinct sensibility that melds theatricality with intense emotional vulnerability. Known for her uncanny approach to traversing the internal and immaterial terrains of nostalgia, childhood memories, and dreams, Schulnik choreographs an honest, complex and contemporary portrait of new motherhood and life seen through the purple haze and black silence of the desert. Schulnik has presented solo exhibitions at the Wadsworth Atheneum Museum of Art, Hartford, CT; Laguna Art Museum, Laguna Beach, CA; Oklahoma City Museum of Art, Oklahoma City, OK; Nerman Museum of Contemporary Art, Overland Park, KS; Mark Moore Gallery, Los Angeles, CA; Zieher Smith, New York, NY; Galeria Javier Lopez & Fer Frances, Madrid, Spain; and SCAD Museum of Art, Savannah, GA. Schulnik’s work can be found in numerous museum collections including the Los Angeles County Museum of Art, Los Angeles, CA; Museum of Contemporary Art San Diego, CA; Santa Barbara Art Museum, Santa Barbara, CA; Museé de Beaux Arts, Montreal, Canada; Laguna Art Museum, Laguna, CA; The Crocker Art Museum, Sacramento, CA; Wadsworth Atheneum Museum of Art, Hartford, CT; and The Albright-Knox Gallery, Buffalo, NY. In the fall of 2022, Schulnik presented Purple Mountain, her second solo exhibition with the gallery.
Taking the form of mixed media painting and illustrated ceramic vessels, Astrid Terrazas’ (b. 1996) symbolic work re-writes worlds. With unflinching vulnerability, Terrazas conveys stories that push personal and communal trauma towards tangible healing. Working in an illustrative, highly detailed style, Terrazas’ multimedia paintings resemble a visual dream diary full of transient figures, archaic symbols, and illogical narratives. Merging dreamscapes, Mexican ancestral folklore, lived experiences, and unearthly transfigurations, Terrazas’ personal range of recurring motifs function as artifacts of protection and evoke universal metaphors of transformation. Terrazas received her BFA in Illustration from Pratt Institute in 2018. She has exhibited work at P·P·O·W, New York, NY; Y2K Group, New York, NY; Andrea Festa Fine Art, Rome, Italy; Marinaro, New York, NY; Fort Makers, New York, NY; Gern en Regalia, New York, NY; Front Gallery, Houston, TX; 98 Orchard St, New York, NY; Nicodim, NY, NY; and The Aldrich Contemporary Museum of Art, Ridgefield, CT; among others. Her work has recently been featured in articles in Art in America, Art Maze Mag, The Art Newspaper, and The Brooklyn Rail. Terrazas currently has work on view at Deli Gallery, Mexico City, Mexico, in the group exhibition Hic Sunt Dracones.
Known for her large-scale paintings of stylized, sentient, yet ambiguously generated female figures, Robin F. Williams (b. 1984) employs a variety of techniques, including oil, airbrush, poured paint, marbling, and staining of raw canvas to create deeply textured and complexly constructed paintings. Combining a masterful technical understanding with an innate sense of curiosity, Williams fuses practices from social media channels such as Instagram, TikTok, and YouTube with references to early modernism, pop culture, advertising, and cinema, to challenge the systemic conventions around representations of women. Williams received her BFA from the Rhode Island School of Design and has presented solo exhibitions at P·P·O·W, New York, NY; Various Small Fires, Los Angeles, CA; Bard College at Simon’s Rock, Great Barrington, MA; and Jack the Pelican Presents, Brooklyn, NY. Her work has been featured in numerous group exhibitions nationally and internationally including Present Generations, Columbus Museum of Art, Columbus, OH; Bitter Nest, Galerie Perrotin, Tokyo, Japan; XENIA: Crossroads in Portrait Painting, Marianne Boesky Gallery, New York, NY; Nicolas Party: Pastel, Flag Art Foundation, New York, NY; SEED, curated by Yvonne Force, Paul Kasmin Gallery, New York, NY; and more. Williams’ next solo exhibition will open at Morán Morán, Mexico City, Mexico, in September 2023.