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P·P·O·W to open Tribeca space in January 2021 with exhibition by Gerald Lovell
The new space is an 8,000 square foot, column free, two-level storefront.



NEW YORK, NY.- P感慈慌 announced the opening of its new ground floor space in Tribeca in January 2021. The gallery joins a number of other contemporary art dealers who have recently opened spaces in the heart of the burgeoning Tribeca Art District. The new space is an 8,000 square foot, column free, two-level storefront that will allow P感慈慌 to build on and honor its legacy and expand its current roster of artists. P感慈慌 will open its inaugural exhibition in the new space on January 22nd with a show by Gerald Lovell, the artist’s first solo exhibition with the gallery and in New York City.




“We are very excited to return to Broadway and to open a ground floor space,” said Co-Founder Wendy Olsoff. “This is the first time since we opened our very first gallery in 1983 that we will be located on the ground floor, and it feels like a homecoming of sorts. The new gallery will give us more space to expand our programming and to create opportunities for our artists to stage more ambitious exhibitions. The Tribeca art-scene is blossoming and we are very excited to be an active part of the community.”

In its first year of programming, P感慈慌 will present a number of solo, two-person, and group exhibitions which pay homage to the gallery’s legacy, while looking forward to the new generations of artists working today. The dynamic exhibition lineup will feature David Wojnarowicz, Martin Wong, Ann Agee, Erin M. Riley, Robin F. Williams, as well as new additions to the program, including Aaron Gilbert, Gerald Lovell, and Guadalupe Maravilla.

The first exhibition, All that I have, will feature new works by Atlanta-based painter Gerald Lovell (b. 1992). Informed by his deep commitment to fostering alternative community narratives, Lovell imbues his subjects with social agency and self-determination, revealing figures whose essential humanity is laid bare. Combining thin flat painting with thick daubs of impasto, Lovell’s portraits are strikingly empathic and uniquely personal, unveiling the lived experience of both the sitter and artist. Influenced by European figurative traditions as well as contemporary artists such as Kerry James Marshall, Kehinde Wiley, and Titus Kaphar, Lovell captures the present moment in order to preserve, honor, and make visible the collective experience of African American millennial life.










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