Estate of Hunter Reynolds
For P·P·O·W's second year at Frieze New York the gallery will exhibit an installation of works by Adam Putnam, Hunter Reynolds, Carolee Schneemann, Suzanne Treister, David Wojnarowicz and Martin Wong.
Adam Putnam’s construction of eleven foot arches will cut diagonally across the booth to form a surprising juxtaposition of views in which to see the presented multimedia works. For over a decade Putnam has used architectural forms in his drawings, sculpture, photography and films to further investigate the intersection of our physical selves with the constructed spaces we inhabit. This installation of arches serves as a framework for shifting viewpoints that activates the works by Reynolds, Schneemann, Treister, Wojnarowicz and Wong. A skin from Hunter Reynold’s mummification performance series will be installed within an archway on the floor alongside the latest work from his Survival Aids weaving series. Vintage silver prints of Carolee Schneemann exposing her body to the elements in her 1974 performative Evaporation work will be on view. A selection of silver prints by David Wojnarowicz holding a frog, a beetle and his Untitled (Dust Track) photographs will also be featured. A selection of twenty botanical works from Suzanne Triester’s latest body, HFT The Gardener climbs the walls revealing a narrative of a algorithmic trader’s experimentation with psychoactive drugs. As the viewer walks through Putnam’s arches they will encounter a Chinese table with a selection of Martin Wong’s, rarely seen ceramic sculptures from the 1960s. Connections, pathways and subtle dialogues reveal themselves through the selection of works – surrounding the body, surveillance, disease and society– as the viewer’s cruise through the arches and viewpoints are transformed.
Adam Putnam
Untitled (Arcade), 2013-2015
plywood and cardboard
dimensions variable
Adam Putnam engages in a variety of media, spanning performance, drawing and photography. The work of Adam Putnam has been included in various exhibitions worldwide, most notably: the Whitney Biennial, New York (2008); the 2nd Moscow Biennial, Moscow (2007); the Busan Biennial, South Korea (2008); MoMA PS1, New York (2007); and The Astrup Fearnley Museum, Oslo (2005). Curatorial projects have included an exhibition of Martin Wong entitled Everything Must Go at P·P·O·W (2009) and Blow Both of Us at Participant Inc. (2007). Recent projects include solo exhibitions at Locust Projects, Miami, (2012) and at Artpace, San Antonio (2013). Most recently Putnam's work was included in an exhibition curated by Tyler Coburn at Galerie Mezzanin in Vienna (2013). He will have a solo-exhibition with P·P·O·W in September (2014).
Carolee Schneemann
Up to and Including Her Limits (Studiogalerie Berlin), 1976
Signed and dated verso
silver gelatin print
9 1/4 x 6 3/4 in.
23.5 x 17.15 cm
Carolee Schneemann received a B.A. from Bard College and an M.F.A. from the University of Illinois. She holds Honorary Doctor of Fine Arts degrees from the California Institute of the Arts and the Maine College of Art. Her work has been exhibited worldwide, at institutions including: the Los Angeles Museum of Contemporary Art; the Whitney Museum of American Art, New York; the Centre Georges Pompidou, Paris; The Reina Sophia Museum, Madrid; The Museum of Modern Art, New York, and the National Film Theatre, London. In 1997, a retrospective of her work entitled Carolee Schneemann - Up To And Including Her Limits was held at the New Museum of Contemporary Art, New York. Awards received include: Art Pace International Artist Residency; two Pollock-Krasner Foundation Grants; Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship; Rockefeller Foundation Fellowship; and a Lifetime Achievement Award from the College Art Association. 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), and Imaging Her Erotics - Essays, Interviews, Projects (2002). She has taught at many institutions, including: New York University; California Institute of the Arts; Bard College; and the School of the Art Institute of Chicago.
Hunter Reynolds
Mummification Performance Skin (P.P.O.W Gallery), 2012
plastic wrap, duct tape, glitter and tin foil
80 x 25 in.
203.2 x 63.5 cm
Hunter Reynolds was born in 1959 in Rochester, Minnesota. Reynolds is a AIDS activist and a Visual AIDS artist member. Hunter Reynolds has been the recipient of grants and residencies, including several Pollock Krasner awards. He has had numerous solo exhibitions including: P·P·O·W Gallery, Participant Inc., Hallwalls, Buffalo, NY; White Columns, New York, NY; Artist Space, New York, NY; Simon Watson Gallery, New York, NY; Creative Time, New York, NY; New York, NY; Momenta, Brooklyn, NY; Bernard Toale Gallery, Boston, MA; ICA Boston, Boston, MA; Yerba Buena Center for the Arts, San Francisco, CA; NGBK Berlin, Germany; and DOCUMENTA, Kassel, Germany. His work is numerous public and private collections including The Society for Contemporary Art Chicago, IL; Yale University Art Gallery, CT; the Addison Gallery of American Art, MA and The Stamp Gallery at the University of Maryland, MD. The Fales Library and Special Collections/New York University recently acquired the archives of Hunter Reynolds for its Downtown Collection.
Martin Wong
Untitled (Pure Mountain Day), 1968
ceramic
5 x 4 1/2 x 4 1/2 in.
12.7 x 11.43 x 11.43 cm
Martin Wong was born in 1946 in Portland, Oregon and raised in the Chinatown district of San Francisco, California. He studied ceramics at Humboldt State University, graduating in 1968. During the 1970s he was active in the San Francisco Bay Area art scene, and was involved with the performance art groups The Cockettes and Angels of Light. In 1978 he moved to Manhattan, eventually settling in the Lower East Side, where his attention turned exclusively to painting. Wong died in San Francisco from an AIDS related illness in 1999. The Martin Wong Foundation has been created in his memory. Wong’s works can be found in museum collections including: the Metropolitan Museum of Art, The Museum of Modern Art, The Bronx Museum, the de Young Museum, the Art Institute of Chicago, Whitney Museum of American Art, San Francisco Museum of Modern Art and The Cleveland Museum of Art. He had a one person show Sweet Oblivion at the New Museum in 1998. In early 2014, an exhibition titled City as Canvas: New York City Graffiti: The Martin Wong Collection, opened at the Museum of the City of New York. A one person traveling exhibition of his work, accompanied by the release of a major publication, is scheduled to take place at the Bronx Museum, New York, in 2015.
David Wojnarowicz
Untitled (hand and toad), 1988-89
dated, titled, signed on verso
silver print
16 x 20 in.
40.64 x 50.8 cm
David Wojnarowicz was born in 1954 in Red Bank, New Jersey. From 1970 until 1973, he lived on the streets of New York City as a street hustler. In the 1990s he fought and successfully issued an injunction against Donald Wildmon and the American Family Association for their distortion of his work in violation of the New York Artists' Authorship Rights Act. Wojnarowicz died of AIDS-related complications on July 22, 1992 at the age of 37. His works are in the permanent collections of major museums internationally and are the subject of significant scholarly studies. Wojnarowicz has been the subject of two retrospectives, at the galleries of the Illinois State University in 1990, curated by Barry Blinderman and at the New Museum in 1999, curated by Dan Cameron. The Whitney Museum of American Art will present a retrospective of Wojnarowicz’s work in the spring of 2016. Recently historian Cynthia Carr released an acclaimed biography on Wojnarowicz entitled Fire in the Belly.
Adam Putnam
Untitled (shadow in a shadow), 2013
black and white photograph
35.56 x 27.94 cm
14 x 11 in.
Hunter Reynolds
Fighting For Our Lives, 2015
archival c-prints and thread
48 x 60 in.
121.92 x 152.4 cm
Carolee Schneemann
Nude on Tracks, Parallel Axis (diptych), 1975
unsigned
gelatin silver print
10 x 8 in.
25.4 x 20.32 cm
Suzanne Treister
HFT The Gardener/Botanical Prints, 2014-15
Rotring pen on paper/Digital prints, Pencil on cartridge paper, Pencil and watercolour on cartridge paper/Digital prints,Watercolour on cartridge paper, Digital prints.
174 parts: each work on paper: various size
David Wojnarowicz
Money Bee II, 1990
dated, titled, signed on verso
color photograph
23.5 x 35.56 cm
9 1/4 x 14 in.
Martin Wong
Untitled (MW Was Here January 23 1970), 1970
stoneware
16 x 7 x 12 in.
40.64 x 17.78 x 30.48 cm
