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P·P·O·W is pleased to present historical and contemporary works by Anton van Dalen, Dinh Q. Le, Hew Locke, Suzanne Treister, Robin F. Williams and David Wojnarowicz.

Anton van Dalen
The War Comes Home, 1982
oil on canvas
94 1/2 x 136 1/2 ins.
240 x 346.7 cm

Anton van Dalen
The War Comes Home, 1982
oil on canvas
94 1/2 x 136 1/2 ins.
240 x 346.7 cm

Anton van Dalen (b. 1938) has pursued a lifelong visual investigation informed by the influences of war, religion, migration, nature, and technological evolution. P·P·O·W will present a monumental unstretched canvas from 1982, The War Comes Home, which depicts a tank and fighter jet decimating the Lower East Side, which van Dalen has documented since the 1970s. Aping triumphal parades for soldiers returning from active duty, van Dalen’s cityscape reflects the inextricable links between homelands and foreign conflict zones. This work will be complimented by small graphite and colored pencil drawings from 1981-84 exploring related themes. Van Dalen has been included in group exhibitions at notable institutions including the Whitney Museum of American Art, New York; New Museum, New York; Contemporary Art Center, Cincinnati, and the New York Historical Society. He has also been the subject of solo exhibitions: Temple Gallery, Tyler School of Art, Temple University, Philadelphia; University Gallery, University of Massachusetts, Amherst; and Exit Art, New York. Avenue A Cut-Out Theatre has toured since 1995 both nationally and internationally and has been shown at numerous institutions including The Drawing Center, the Museum of Modern Art, and The New York Historical Society. Junk Culture, his second exhibition at P·P·O·W, will open Thursday, March 21.

Dinh Q. Lê
Untitled from Vietnam to Hollywood (paratroopers), 2005
c-print and linen tape
38 x 72 in.
96.52 x 182.88 cm

Dinh Q. Lê
Untitled from Vietnam to Hollywood (paratroopers), 2005
c-print and linen tape
38 x 72 in.
96.52 x 182.88 cm

Dinh Q. Lê (b. 1968) uses photography as both a technology for image making and an apparatus for distributing ideological narratives. The range of techniques he employs expand the category of photography to reveal the failings of individual memory and collective perceptions. We will present a large photo-weaving from his iconic Vietnam to Hollywood series, works that combine scenes from popular films such as Apocalypse Now with influential journalistic images published during the war. Lê has exhibited at the 2013 Carnegie International at the Carnegie Museum of Art, PA and documenta 13, Kassel, Germany in 2012. His work has been exhibited at the Museum of Modern Art, NY; Carnegie Museum, PA; MoMA PS1, NY; The Museum of Fine Arts, TX; and the Asia Society, NY, among many others. Dinh Q. Lê: True Journey Is Return, a traveling retrospective with a recently published full-color catalog, is currently on view at the San Jose Museum of Art. He is a co-founder of the nonprofit organization Sàn Art. Lê lives and works in Ho Chi Minh City, Vietnam.

Hew Locke
Ghost, 2015
wood, tin panels, chain, plastic flowers, spray paint, varnish, resin, superglue, enamel paint, brass wire
74 1/8 x 63 x 8 5/8 in
188 x 160 x 22 cm

Hew Locke
Ghost, 2015
wood, tin panels, chain, plastic flowers, spray paint, varnish, resin, superglue, enamel paint, brass wire
74 1/8 x 63 x 8 5/8 in
188 x 160 x 22 cm

Hew Locke (b.1959) utilizes a wide range of mediums to explore the languages of colonial and post-colonial power. Locke was primarily raised in Guyana and returned to the UK to complete an MA in sculpture at the Royal College of Art in 1994. Hew Locke’s Ghost 2015 depicts the HMS Belfast, a war ship launched by the British Royal Navy shortly before the outbreak of World War II. Now decommissioned, this ship is permanently moored in the Thames in London as a tourist destination celebrating military strength. Commissioned for an exhibition at the Imperial War Museum, Ghost speaks to the commemoration of violent conflict as a central strategy for fashioning national identities. Locke’s work is represented in many collections including the Government Art Collection, UK; Miami Art Museum, FL; Tate Gallery, UK; the Brooklyn Museum, NY; Perez Art Museum Miami, FL; the Kemper Museum of Contemporary Art, MO; the RISD Museum, RI; the British Museum, London, UK; and the Henry Moore Institute Leeds, UK. Locke’s most comprehensive exhibition to date, Hew Locke: Here’s the Thing, will open at Ikon Gallery, Birmingham, on March 8. Hew Locke: Here’s the Thing will travel to the Kemper Museum of Contemporary Art, Kansas City, MO and Colby College Museum of Art, ME.

Suzanne Treister
Survivor (F)/Lone Star, 2016-2018
archival giclée print on Hanemuhle bamboo paper
11 3/4 x 8 1/4 ins.
29.7 x 21 cm

Suzanne Treister
Survivor (F)/Lone Star, 2016-2018
archival giclée print on Hanemuhle bamboo paper
11 3/4 x 8 1/4 ins.
29.7 x 21 cm

Suzanne Treister (b. 1958) has been a pioneer in digital, new media, and web- based media art since the late-1980s. Her work is often made in elaborate, years-long series of watercolor diagrams which conjure fictional worlds, international collaborative organizations, and apocalyptic or regenerative futures. P·P·O·W will exhibit 45 giclee prints from her ongoing series SURVIVOR (F), an hallucinogenic exploration of a future reality in undetermined time and space. This series presents manifestations of a fictional survivor of the human race. Treister studied at St Martin’s School of Art, London (1978-1981) and Chelsea College of Art and Design, London (1981-1982) and currently lives and works in London. Recent exhibitions include solo and group shows at the ICA London; 10th Shanghai Biennale, China; ZKM, Karlsruhe, Germany; Stedelijk Museum Bureau Amsterdam (SMBA), Netherlands; Schirn Kunsthalle, Frankfurt; Raven Row, London; Secession, Vienna; Museum of Contemporary Art (CAPC) Bordeaux and Annely Juda Fine Art, London. Treister’s work is held in private and public collections including Tate Britain; Science Museum, London; Centre Pompidou, Paris; Muzeum Sztuki, Łódź, Poland and Thyssen-Bornemisza Art Contemporary, Vienna.

Robin F. Williams
Fighters, 2018
acrylic and oil on canvas
72 x 64 in.
182.9 x 162.6 cm

Robin F. Williams
Fighters, 2018
acrylic and oil on canvas
72 x 64 in.
182.9 x 162.6 cm

Robin F. Williams (b. 1984) utilizes a variety of techniques, including oil, airbrush, and the staining of raw canvas, to create lush, deeply textured paintings. Fighters 2018, a pastel work on paper depicts two androgynous cisgender women interlocked in a dispassionate, violent struggle. Updating the Cain and Abel narrative for the 21st Century, this work uses twin figures to illustrate the psychology of aggravation and conflict. With three solo exhibitions at P·P·O·W, Williams has garnered critical recognition for her contribution to figurative and feminist painting, noting the complexity of her compositions, masterfully varied techniques and the psychological depth of her narratives. In her review of Williams' 2017 exhibition Your Good Taste is Showing, Roberta Smith of the New York Times wrote: "These painting are timely, but they are also enigmatic, off-putting and out there in rewarding ways.” Robin F. Williams was born in Ohio and lives and works in Brooklyn, NY. She received her BFA from the Rhode Island School of Design. She has been included in numerous exhibitions nationally and internationally. Williams has been honored as the Josephine Mercy Heathcote Fellow at The MacDowell Colony.

Martin Wong
Untitled (After Mei Lanfang with Two Swords), c. 1992
acrylic on canvas
45 3/4 x 59 5/8 in.
116.2 x 151.4 cm

Martin Wong
Untitled (After Mei Lanfang with Two Swords), c. 1992
acrylic on canvas
45 3/4 x 59 5/8 in.
116.2 x 151.4 cm

Martin Wong (1946-1999) was active in the San Francisco Bay Area art scene during the 1970s 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 set forth to depict urban life on the Lower East Side where he then lived. In Wong’s last major body of work he turned his attention to his own heritage and painted scenes from New York and San Francisco’s Chinatowns. Wong died in San Francisco from an AIDS related illness in 1999. His work can be found in museum collections including The Metropolitan Museum of Art, The Museum of Modern Art, The Bronx Museum of The Arts, and The Whitney Museum of American Art, New York; The Cleveland Museum of Art, The Art Institute of Chicago; and the San Francisco Museum of Modern Art. Wong had a one person show Sweet Oblivion at the New Museum (1998). Wong's retrospective, Human Instamatic, opened at the Bronx Museum of The Arts in November 2015, the Wexner Center in Columbus, Ohio in May of 2016 and traveled to the UC Berkeley Art Museum in 2017.

David Wojnarowicz
Labor, 1984
Wojnarowicz '84 "Labor," Lower Left
acrylic and collage on found supermarket poster
44 x 32 ins.
111.8 x 81.3 cm

David Wojnarowicz
Labor, 1984
Wojnarowicz '84 "Labor," Lower Left
acrylic and collage on found supermarket poster
44 x 32 ins.
111.8 x 81.3 cm

David Wojnarowicz (1954-1992) was among the most incisive and prolific American artists of the 1980s and 90s. David Wojnarowicz’s work has been exhibited at The Museum of Modern Art, New York; Museum of Contemporary Art, Chicago; The American Center, Paris, France; The Busan Museum of Modern Art, Korea; Centro Galego de Art Contemporanea, Santiago de Compostela, Spain; The Barbican Art Gallery, London; and the Museum Ludwig, Cologne. His work is in permanent collections of major museums nationally and internationally and his life and work have been the subject of significant scholarly studies. Wojnarowicz has had retrospectives at the galleries of the Illinois State University, curated by Barry Blinderman (1990) and at the New Museum, curated by Dan Cameron (1999). A third retrospective, David Wojnarowicz: History Keeps Me Awake at Night, co-curated by David Kiehl and David Breslin, opened at the Whitney Museum of American Art in July 2018. The widely acclaimed exhibition has been reviewed in Artforum, The Guardian, The New York Times and The New Yorker, among others. The retrospective will travel to the Museo Reina Sofia, Madrid in May 2019 and the Musee d/Art Moderne Grand-Duc Jean, Luxembourg City in November 2019. A concurrent exhibition of Wojnarowicz’s films and photographs opened at the KW Berlin in February 2019.

Exhibited Works

Exhibited Works Thumbnails
Dinh Q. Lê

Dinh Q. Lê
Untitled from Vietnam to Hollywood (paratroopers), 2005
c-print and linen tape
38 x 72 ins.
96.5 x 182.9 cm

Hew Locke Confederate States of America Loan 4, 2018

Hew Locke
Confederate States of America Loan 4, 2018
acrylic ink and acrylic pen on antique share certificates
26 7/8 x 16 7/8 ins.
68.4 x 42.9 cm
Framed Dims: 34 x 22 3/4 x 1 3/4 in.

Hew Locke Confederate States of America Loan 5, 2018

Hew Locke
Confederate States of America Loan 5, 2018
acrylic ink and acrylic pen on antique share certificates, framed
26 1/8 x 16 7/8 ins.
66.2 x 43 cm

Hew Locke Confederate States of America Loan 6, 2018

Hew Locke
Confederate States of America Loan 6, 2018
acrylic ink and acrylic pen on antique share certificates
27 3/4 x 16 7/8 ins.
70.6 x 42.8 cm
Framed Dims: 34 x 22 3/4 x 1 3/4 ins.

Suzanne Treister Survivor (F)/Space Hunter, 2016-2018

Suzanne Treister
Survivor (F)/Space Hunter, 2016-2018
archival giclée print on Hanemuhle bamboo paper
11 3/4 x 8 1/4 ins.
29.7 x 21 cm

Anton van Dalen

Anton van Dalen
Penthouse Attack, 1983
oil on canvas
48 x 64 ins.
121.9 x 162.6 cm

Robin F. Williams

Robin F. Williams
Kool-Aid Sipper (Study), 2018
pastel on paper
30 x 30 in.
76.2 x 76.2 cm

Martin Wong Self-portrait, 1993

Martin Wong
Self-portrait, 1993
Acrylic on canvas
40" diameter

David Wojnarowicz Untitled (Falling Buffalos), 1988-89

David Wojnarowicz
Untitled (Falling Buffalos), 1988-89
gelatin silver print
40 1/2 x 48 in.
102.87 x 121.92 cm

Dinh Q. Lê

Dinh Q. Lê
Untitled from Vietnam to Hollywood (paratroopers), 2005
c-print and linen tape
38 x 72 ins.
96.5 x 182.9 cm

Hew Locke Confederate States of America Loan 4, 2018

Hew Locke
Confederate States of America Loan 4, 2018
acrylic ink and acrylic pen on antique share certificates
26 7/8 x 16 7/8 ins.
68.4 x 42.9 cm
Framed Dims: 34 x 22 3/4 x 1 3/4 in.

Hew Locke Confederate States of America Loan 5, 2018

Hew Locke
Confederate States of America Loan 5, 2018
acrylic ink and acrylic pen on antique share certificates, framed
26 1/8 x 16 7/8 ins.
66.2 x 43 cm

Hew Locke Confederate States of America Loan 6, 2018

Hew Locke
Confederate States of America Loan 6, 2018
acrylic ink and acrylic pen on antique share certificates
27 3/4 x 16 7/8 ins.
70.6 x 42.8 cm
Framed Dims: 34 x 22 3/4 x 1 3/4 ins.

Suzanne Treister Survivor (F)/Space Hunter, 2016-2018

Suzanne Treister
Survivor (F)/Space Hunter, 2016-2018
archival giclée print on Hanemuhle bamboo paper
11 3/4 x 8 1/4 ins.
29.7 x 21 cm

Anton van Dalen

Anton van Dalen
Penthouse Attack, 1983
oil on canvas
48 x 64 ins.
121.9 x 162.6 cm

Robin F. Williams

Robin F. Williams
Kool-Aid Sipper (Study), 2018
pastel on paper
30 x 30 in.
76.2 x 76.2 cm

Martin Wong Self-portrait, 1993

Martin Wong
Self-portrait, 1993
Acrylic on canvas
40" diameter

David Wojnarowicz Untitled (Falling Buffalos), 1988-89

David Wojnarowicz
Untitled (Falling Buffalos), 1988-89
gelatin silver print
40 1/2 x 48 in.
102.87 x 121.92 cm

Installation Views

Installation Views Thumbnails
The Armory Show
The Armory Show
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The Armory Show
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The Armory Show
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The Armory Show
The Armory Show
The Armory Show