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Gallery: Powers/ Lowenfels
Current: FOLK ART USA: COAST TO COAST / June 11th - August 23rd 53 Stanton Street. Thurs-Sun 12-6 or by appt.

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Joshua Lowenfels eating 3 hard boiled eggs.

Part of a continuing project inspired by'
"Andy Warhol Eats a Hamburger."

Andy Warhol eating a Hamburger from the film 66 Scenes from America (1982) by Jørgen Leth, and Jørgen Leth on Andy Warhol eating a Hamburger;

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Venn’acular continues … open today (Sunday) 12-6.
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An Important African American Folk Art Textile
Probably Southern United States
Circa: 1870
Size: 28 1/4” (h) x 81” (w)
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Provenance: Elliott & Grace Snyder; Private collection; Jan Whitlock.
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This remarkable African-American Folk Art textile is rich with representational and abstract appliquéd figures, animals, and shapes. The large work comprises numerous blocks of homespun remnants and scraps of domestic and imported cotton, wool and silk fabrics. According to textile expert Jan Whitlock, no remnant is older than 1850, and a couple similar imported silk fabrics have been found on folk art textiles from Baltimore.
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On the left, an African-American family is shown with their farm animals. It’s possible that the woman depicted is the very woman who created this textile.
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Further to the right, another woman and child stand. The mother is next to a big white house, and both are depicted in fancier patterned cloth—no facial details.
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To the right of the house, there is a man in a horse-drawn buggy and further right a very large black cat. Several hearts, stars, and other geometric forms, and layered fabric shapes are interspersed throughout.
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One cannot see a textile-like this and not think of the important works by Harriet Powers. Powers, a former slave from Athens, Georgia, created at least two masterpiece Bible quilts, one in The Smithsonian and the other at the M.F.A. Boston from the Karolik collection.
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Powers’ work relates to textiles of West Africa, like the Fon and Fante, which historically created similarly constructed appliqué textiles as storytelling devices.
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The piece herein holds a loose narrative of domestic life and most certainly held strong personal meaning. And the initials, “M.A.T.,” are those likely of the maker.
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught, & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
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#outsiderart #folkart #africanamericanart #selftaughtart #africanamericanart

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Come hang out at the gallery this weekend. Open 12-6. Venn’acular continues through November 8.
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Pair of Insulator Dolls
Porcelain electrical components & copper wire.
Provenance: Herbert Waide Hemphill, Jr.; Michael Hall.
Literature: FOLK ART IN AMERICAN CULTURE, pg. 63
Exhibited: The Contemporary Arts Center, Cincinnati, Ohio, 1986.
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught, & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
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#outsiderart #folkart #africanamericanart #visionaryart#selftaughtart

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2 WEEKS AWAY! Reserve your advance tickets now and learn more at artwithoutintent.com (link in bio).

The FOUND OBJECT SHOW
November 6-8, 2026 | NYC
An exhibition of found objects transcending their forms through time and circumstance.

Curated by 19 exhibitors, Found Object Show 2026 fills a Chelsea gallery with things out of control.

Age vandalized their appearance. Circumstance hijacked their function. Obscurity overwrote their significance. Tearing through time, ravaged by the random, these found objects broke from the design of their creators to emerge today as things liberated from prescribed form and meaning: illegible, unknowable, out of reach even when in hand.

Visitors to the show will encounter pieces ranging from rare antiques to commonplace items, some unrecognizable in appearance and others displaced in time and space. Whether or not one sees art depends upon a viewer’s own perspective: “art without intent” is subjective, but awakens an artistic muscle latent in every human imagination, as old as human consciousness itself.

LOCATION
516 W 26th St Suite 315 | NYC

HOURS + TICKETS
Friday, 11/6 | 5 PM – 9 PM
Saturday, 11/7 | 10 AM – 6 PM
Sunday, 11/8 | 10 AM – 4 PM

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EXTENDED (through November 8). Jerry Saltz, in his inimitable voice, said of our current exhibit, “Centuries of human imagination rubbing shoulders. No hierarchies. Art as glorious unruliness.” Come see Venn’acular!
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“Venn’acular” is a portmanteau of Venn [diagram] and vernacular, which is our aesthetic approach in a nutshell. This exhibit brings together numerous voices through engagement, dialogue, some slight discordance, and balance.
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught, & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
.
#outsiderart #folkart #africanamericanart #visionaryart#selftaughtart

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Venn’acular continues … install view with partial of an African American textile, John Roeder painting, Hand of God, an Anonymous Dreamscape painting, and African American carved bricks
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught, & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
.
#outsiderart #folkart #africanamericanart #visionaryart#selftaughtart

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“Beam me up Scottie.” Unusual small painting of a Woodlands nymph emerging and looking like she may be lifted out by a tractor beam.
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Woodlands Nymph
Oil on canvas
Circa: 1920
Size: 9” x 6”
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught, & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
.
#outsiderart #folkart #africanamericanart #visionaryart#selftaughtart

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Jerry Saltz, in his inimitable voice, said of our current exhibit, “Centuries of human imagination rubbing shoulders. No hierarchies. Art as glorious unruliness.” Come see Venn’acular!
.
We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught, & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
.
#outsiderart #folkart #africanamericanart #visionaryart#selftaughtart

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George Ohr (1857-1918)
Signed Bisque Pot
“Mud From New Orleans Street.” / “Times-Democrat”
Dated: 1905
Size: 3 1/2” x 4 7/8”
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Heavily inscribed pot by George Ohr from 1905. “Mud From New Orleans Street.” Though known as “The Mad Potter of Biloxi,” George Ohr apprenticed as a potter in New Orleans, and this inscription gives an homage to his artistic roots. Ohr uses the word “mud” to reinforce his medium’s humble origins.
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In addition to “Mud from New Orleans,” the underside of this beautifully manipulated pot with in-body twists and ruffled rim has Ohr’s beautifully scripted signature, is dated 1905, and states “Times-Democrat.” Here, Ohr refers to a New Orleans newspaper and hints at his political awareness. Ohr leaned left and was affiliated with the Mississippi Socialist Party of America. He also contributed to The Appeal to Reason, a socialist newspaper.
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His pots embodied his unconventional views and challenged the norms of his time. They exhibit the value of individualism and a rejection of conformity. His improvised and distorted forms protested against the homogenization of culture and the commodification of creative labor.
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
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#contemporaryart #outsiderart #folkart #georgeohr

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Good morning from a great group show of eccentric, eye-opening “Venn’acular” artists at @stevenspowers and @ployaarrtt. Outsider art, folk art, oddball inventions, visionary drawings, strange buildings, ravishing abstractions. Centuries of human imagination rubbing shoulders. No hierarchies. . Art as glorious unruliness. Through October 24.
The two picturing women I ted dresses are the made by the same male drag queen.
And even though museums will travel to Basel and Dubai for far flung art fairs, the first early 1970s canvas packed and coiled together in a frame, shout 1970s Pluralism - and probably would cost like $3,000 dollars. It would stand out and take its place in any museum. But that’s where curators are today.

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Sunday Funday with The Magnificent Pretty Boy.
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Desire From The Planet Called Pleasure
Henry Ray Clark (1936 - 2006)
Colored ballpoint pens, Manila envelope
Circa: 1997
Size: 20” (w) x 13 1/2” (h) (sight)
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His street name was “The Magnificent Pretty Boy,” because of his good looks and intense blue eyes. Armed with a sixth-grade education, a life of drug dealing and hustling, Clark found himself in and out of the Texas penitentiary system until an assault landed him there on an extended stay.
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A striking example of Clark’s work with a female alien named “Desire” in the center panel. Titled on top, “MY NAME IS DESIRE FROM THE PLANET CALLED PLEASURE. I AM HERE TO SERVE YOU WITH WHATEVER YOU WISH.”
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Clark kept busy creating intricate, otherworldly drawings using ballpoint pens and Manila envelopes.
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Clark’s work has been included in several exhibits, including: Hirschl & Adler, “Living Folk,” 1990; “Passionate Visions of the American South,” New Orleans Museum of Art, 1993, and “Spirited Journeys: Self-Taught Texas Artists of the Twentieth Century,” 1997; and more recently at the exhibition “Seeing Stars” at the Menil Collection in Houston, Texas, in 2012.
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
.
#contemporaryart #outsiderart #folkart #africanamericanart #prisonart

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Wild spray painted tomb-shaped painting with an array of hypodermic needles, martini glasses, wine bottles, anchors and a skull and crossbones 💉🍸🍷⚓️☠️ … Venn’acular continues.
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Vice
New York City
Spray paint on plywood
Circa: 1960s
Size: 48” x 31”
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We are a NYC gallery exhibiting a Venn diagram of Outsider, Self-Taught & Contemporary Works of Art. Thursday-Sunday 12-6 p.m.
.
#contemporaryart #outsiderart #folkart #folkartsculpture #africanamericanart

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