Edited
Contact: powhida@gmail.com | Instagram: @williampowhida | CV: Download PDF (updated December 2024)
Who is William Powhida?/Who the fuck are you?
William Powhida is both an artist and a fictional persona, POWHIDA, created by the artist to satirize notions of individual genius, privilege, and the art world’s extremely fucked up class relations and dependence on accumulated wealth.
Most recently, he has been focusing on the development and production of Zero Art Fair with co-founder and collaborator Jennifer Dalton. The fair debuted in July 2024 in Elizaville, New York as a participant in Upstate Art Weekend. The fair uses a novel store-to-own contracted developed for William by NYU Professor Amy Whitaker and artist-lawyer Alfred Steiner to allow artists to give works away while retaining rights to future equity. The fair is slated to return in July of 2025 at the Flag Foundation in New York City.
Powhida as wrote criticism for the Brooklyn Rail for a few years before focusing on writing about issues affecting working artists and their communities. He was co-host of Explain Me with Paddy Johnson, a podcast on the intersection of art, money, and politics, and now joins Paddy periodically on her new podcast, Art Problems. He is currently on faculty at the School of Visual Arts in New York, an adjunct professor at Queens College, an Artist Advisor with Netvvrk, and a mentor with the International Lab for Artistic Practice (ILAP). He is also an active organizer with the artsunion.org
What has he done?/Why is he so fucking important?
William has been advancing his own interests and attacking the art world for about a decade with marginal success. Projects and Exhibitions executed firmly within the capitalist paradigm include:
Persona, an early exhibition at Dam Stuhltrager that introduced the artist’s fractured personas including an early version of POWHIDA.
This is a Work of Fiction, a 2007 exhibition at SchroederRomero that included a parody of New York Magazine artist’s biographies that introduced a fully-formed POWHIDA.
The Writing is on the Wall, a 2009 exhibition at SchroederRomero that included _Relational Wall, _a large-scale depiction of the art world’s hierarchical power structures, which is now the cover of Ben A. Davis’s excellent book 9.5 Theses on Art and Class. Holland Cotter of the New York Times said “William Powhida, art world vigilante, virtuoso draftsman, compulsive calligrapher, fantasist autobiographer and recently self-announced gallery owner and art dealer, has a semi-solo show at Schroeder-Romero well worth catching.”
How The New Museum Committed Suicide with Banality, a scathing critique of an amazing museum’s decision to transform itself into a showroom for a Greek oligarch. Jerry Saltz selected the drawing as his second favorite work of 2009 saying “This single drawing changed art-world minds, including mine. His spring solo at Schroeder Romero & Shredder was also one of the trickiest and most satirically cutting shows of the season, including portraits of art stars and players taken from the gossip site Artforum.com.” The drawing originally debuted on the cover of the venerable Brooklyn Rail, which won’t even link to it anymore. (Thanks Phong!) On the upside, The New Museum canceled any further “Imaginary Museum” shows like Skin Fruit.
#class_, a collaborative inquiry into the contentious relationship between art and money with artist Jennifer Dalton that turned a commercial gallery into a open, less-hierarchical forum for a month. Holland Cotter also said “Bottom line: artists are artists’ best friends, and there should be more gatherings like this one.” in his review for the New York Times. _
POWHIDA, A performance piece where the fictional character POWHIDA occupied Marlborough Chelsea for two weeks causing a shit-storm of outrage and, perhaps even some joy for people who hate the art world as much as the artist does. Brian Droitcour, (a Yelp Elite™ critic now) said in Artforum’s trashy Scene and Heard column “In my head I’d been composing the kind of invective that shuts dialogue down. Powhida was, I thought, a mediocre draftsman singularly obsessed with his own career, offering nothing but rarefied op-ed cartoons about the markets and personalities that stand in its way.” while New York Times critic Ken Johnson said “Exploiting a formerly blue-chip gallery as its platform, the exhibition is a crude yet refreshing living cartoon that spoofs the triumph of personal charisma and insider connections in contemporary art.”
Bill by Bill, A satirical take on fabrication and the art-industrial complex’s reliance on formula and tropes, The LA Times critic Holly Meyers said “So rare is good satire in contemporary art that its appearance — as in the newest exhibition of William Powhida, a New York-based artist who is fast evolving into one of its sharpest practitioners — makes one inclined to stand up and applaud.” Another critic from Artforum didn’t quite agree, but that’s pretty much how it’s gone the entire time.
After the Contemporary, The artist’s first solo exhibition at the Aldrich Contemporary Art Museum explores how contemporary art may be viewed as a distinct period of art history driven equally the rise of wealth and income inequality and changes in the art market. Posing as a future version of the Aldrich’s curatorial team in the year 2050, Powhida authored a museological history of The Contemporary and created fictional artifacts including a post-artist gallery model called Grevsky (along with Seth Stolbun) to exhibit alongside some of his own work in retrospective within the show. In his Hyperallergic review of the show critic Thomas Micchelli wrote “This synopsis barely skims the surface of a multilayered, impudent, lacerating exhibition that pricks pretense and self-delusion on every level, from mega-rich collectors fancying themselves pillars of civilization to politically committed artists rationalizing their aspirations to the high-end gallery system. "
Complicities, the artist’s 2019 show at Postmasters Gallery looked at the direct and indirect connections between culture and capital through a series of large scale, watercolor and graphite diagrams. The works on paper traced the flow of wealth from the Sackler family, The Koch Brothers, Warren Kanders, and Related Reality into cultural institutions. As part of the exhibition, William made it explicitly clear that the works would not be sold to any of the subjects of the critique, which was generally considered a bad idea for a field dominated by wealthy capitalists.
Store to Own, in late 2019 as inventory returned to the artist’s studio after its market expiration date had long passed, the artist worked with Amy Whitaker and Alfred Steiner to develop a friendly contract to allow the public to take possession of an available work. After a period of five years the property rights to the work will transfer to the borrower, while the artist retains a 50% stake in future sale of the work. The project resulted in over 300 requests for available works. The Store to Own project will be updated periodically when the artist needs to clear out space to work.
Possibilities for Representation, first created for Twenty Twenty at the Aldrich Museum of Contemporary Art, the large-scale installation traces the ideological positions of Democratic and Republican candidates backward and forward in time through the lens of pop culture and media images that blur the lines between fact and fiction. The project was subsequently expanded and installed at Charlie James Gallery in 2021 and then as part of Condition Report at Haverford College in 2022. The project will continue in 2023 at the Scottsdale Museum of Art in Arizona exploring the impact of the 2022 midterms and the upcoming 2024 presidential election.
Shaoul + Howe, over the course of the summer of 2021, Powhida was approached by 601 Artspace Director Sarah Shaoul to explore the idea of curating a show of work by her boss, David Howe. The prospect of curating an exhibition of the space’s founder and owner presented a number of difficult questions about access, privilege, and power that have often been the subject of the artist’s critiques of the art world. Through a series of conversations and studio visits, the artist agreed to curate a show-a-within-a-show around Howe’s unusual work focused on North Korean leader Kim Jong Un. Powhida’s curatorial project, Shaoul+Howe, sought to transform the non-commercial project space into a commercial gallery to alter the normal power dynamics between the owner and staff as they broke a long-standing art world taboo against self-funded vanity projects. Complications from the rise of the COVID Delta variant forced the production to shift from a focus on devised theater in the gallery towards the production of an Art21-style documentary of Howe’s exhibition, Support and Defend. A longer documentary about the entire curatorial project is currently in production drawing on staff interviews, improvised scenarios filmed during the exhibition, and a panel discussion among the participants involved with the double exhibition.
Zero Art Fair, in late 2019, a collaborative group of artists met to discuss ideas for a new project. The group, which produced the Telethon for the 1% in 2012 at Momenta Art and has included artists Jennifer Dalton, the McCoys, Lynn Sullivan, Peter Rostovsky, Susan Hamburger, Guy Richards Smit, and Powhida, developed the outlines for an experimental art fair that could use the store-to-own contract to transfer work without using money. After some initial excitement the pandemic and other commitments the project was mothballed until Dalton was approached by the founder and former director of_ No Longer Empty _to propose a project for her barn in Elizaville. Dalton proposed the idea of Zero Art Fair along with Powhida. Working together for the first time since 2016’s _Month2Month_ public art project, the artists worked for nearly a year and half to conceptualize, fund, and build the digital and physical infrastructure for the fair. The project was a success with nearly all of the works transferred to borrowers who will become owners of the work after the five-year vesting period, while the artists retain rights to 50% of a future sale of the work and a 10% re-sale right to any subsequent re-sales.
These are just a few of the projects that might matter…
Non-Standard Artist Biography
William Powhida is a G-E-N-I-U-S who makes fun of the art world to highlight the paradoxes and absurdities of economic and social value systems that keep the sphere of visual art afloat on a surging tide of inequality. His work relies on research and participation to diagram, list, perform and critique the forces that shape perceptions of value. He is responsible or partly responsible for exhibitions including After The Contemporary at The Aldrich Contemporary Art Museum, Month to Month with Jennifer Dalton, Overculture at Postmasters Gallery, and Hashtag Class [#class] with Jennifer Dalton at Winkleman Gallery. Recent exhibitions include After After the Contemporary at Charlie James Gallery, On the Contemporary at Gallery Poulsen, Twenty Twenty at the Aldrich Museum of Contemporary Art, Possibilities for Representation at Charlie James Gallery, and Condition Report at Haverford College.
Powhida is infrequent writer on issues that alarm him and has been a member of the Artists Studio Affordability Project, an artist-led advocacy group working towards commercial rent regulation. He was also the co-host of Explain Me, a biweekly podcast with Paddy Johnson exploring the intersection of art, money, and politics. He is currently an active organizer with the Arts Union building a non-traditional union for artists and arts workers.
He is currently represented by Postmasters Gallery (NY), Charlie James Gallery (LA), Poulsen Gallery (DK), and Platform Gallery (WA). He holds a BFA in Painting from Syracuse University and an MFA in painting from Hunter College. His work has been written about in the New York Times, Artforum, Art in America, The Los Angeles Times, Hyperallergic, ArtFCity, The Guardian, the New Yorker, New York Magazine, and October among other publications. His work in the collections The San Diego Museum of Art, The Henry Art Museum, The Crocker, The Orange County Museum of Art, Casa Maaud, and JP Morgan Chase.
(updated 12.15.24)
Press/Bibliography
2024
Irish, Anni, “How a new US art fair nearly ‘sold out’—without any money changing hands,” The Artnewspaper, Jul 29, 2024
Heinrich, Will, “Upstate Art Weekend Offers a Year’s Worth of Art in Four Days,” The New York Times, July 18, 2024
Kelly, Brian, P. “Zero Art Fair, Where the Work Is Free,” The Wall Street Journal, July 12, 2024
Schrader, Adam “ Free to a Good Home: Artists Launch a New Fair to Clear Unsold Works From Their Studios,’ Artnet, May 17, 2024
Welsh, Doug, “Review: “THIS SIDE UP” at the Houston Center For Contemporary Craft” Glasstire, April 22, 2024**
2023**
Nayyar, Rhea “Ready, Set, Bet on Mini Artist-Made Racecars in Brooklyn,” Hyperallergic, April 26th, 2023
Trimble, Lynn “How Do Artists Combat Propaganda?” Hyperallergic, April 10, 2023
2021
Essig, Linda, “Creative Infrastructures: Artists, Money and Entrepreneurial Action,” Intellect Books
Whitaker Amy, “Economics of Visual Art,” Cambridge University Press, July 2021
Rodney, Seph, “An Ode to the Year That Will Live on in Infamy,” Hyperallergic, March 14th, 2021
Schneider, Timothy, “The Gray Market: Why the ‘YOLO Economy’ Actually Spells Trouble for the Fragile Art Ecosystem (and Other Insights),” April 28th, 2021
O’Toole, Fintan, “To Hell with Unity,” The New York Review of Books, March 25th, 2021
Berning, Sawa, “Slowing the news: artists commissioned to document a US election year through the act of drawing.” February 4th, 2021
Micchelli, Thomas, “Trump’s Last Act,” Hyperallergic, January 16th, 2021
2020
Boucher, Brian & Kinsella, Eilleen, “‘Good Luck, America’: Artists and Arts Workers React to the Nail-Biting US Presidential Election on Social Media—See Their Posts Here,” November 4th, 2020
Graeber, Laurel, “Putting Pencil to Paper, in Galleries and in the Voting Booth,” The New York Times, October 22nd, 2020
Dafoe, Taylor, “Artist William Powhida Doesn’t Have Room to Store All His Work—So He Wants You to Borrow It, for Free”, Artnet, February 28th, 2020
2019
Cotter, Holland, “Best Art of 2019”, The New York Times, December 6th, 2019
Cameron, Dan “What Are Words Worth?”, The Brooklyn Rail, October 29th, 2019
Ritter, Zach, “Capital and Complicity in the Artworld”, Hyperallergic, September 28th, 2019
Goldstein, Caroline, “William Powhida’s First Gallery Show in Years Is Taking Aim at Problematic Art World Patrons—and It Turns Out All Of Us Are Complicit”, Artnet, September 27th, 2019
Steinheuer, Jillian, “New York Galleries: What to See Right Now: Sol LeWitt’s book art; Ridley Howard’s paintings; Kahlil Robert Irving’s assemblages; Yvonne Thomas’s abstractions; and William Powhida’s critical chart-paintings”, New York Times, September 25th, 2019
Carrigan, Margret, “Three exhibitions to see in New York this weekend: From the LMCC’s Art Center inaugural season to William Powhida’s watercolour memes,” The Artnewspaper, Sept 19th, 2019
Stevenson, Jonathan, “William Powhida’s Inquisition,” Two Coats of Paint, September 13th, 2019
2018
Friday, Daniel, “Marx@2000”, The Brooklyn Rail, June 5th, 2018
Osberg, Annabel, “William Powhida,” Artillery Magazine, February 28th, 2018
Nys Dambrot, Shana, “William Powhida: After ‘After the Contemporary,” Art and Cake, February 5th, 2018
Zellen, Jody, “William Powhida: After ‘After the Contemporary’.” ArtnowLA, January 29th, 2018
2017
Cotter, Holland, “William Powhida, Political and Not Amused”, The New York Times, March 1st, 2017
Martinez, Alanna, “The Recipe for a Perfect Art Fair”, The Observer, March 5th, 2017
Micchelli, Thomas, “Drawing in a Time of Fear and Lies,” Hyperallergic, January 14th, 2017
Editors, “A Timeline of Attempts to Fix the Art World”, Artnews, January 3rd, 2017
2016
Micchelli, Thomas, “The Pursuit of Art 2016”, Hyperallergic, December 31st, 2016
Boutboul, Charlotte, “Exploring Pulse Miami Beach’s North and South Tents”, Whitewall Magazine, December 1st, 2016
Kassan, Donna, “Artists and Their Muse: Gentrification”, The New York Times, December 2nd, 2016
Scott, Shaun, “Culture Got Us Here. Culture Will Get Us Out,” Cityarts, November 18th, 2016
Sutton, Benjamin, “In Philip Guston’s Nixon Drawings, a Tool Kit for Satirizing Loathsome Presidents”, Hyperallergic, November 12th, 2016
Miranda, Carolina, “Essential Arts & Culture: Activists vs. art galleries, a battle over an alleged Pollock, Hammer gala”, Los Angeles Times, October 14th, 2016
Westall, Mark, “Why I Want to Fuck Donald Trump”, FAD Magazine, October 13th, 2016
Ongley, Hannah, “Counterculture Art Show has Trump’s Tombstone and a Very NSFW Title,” I-d Magazine, October 10th, 2016
Michelli, Thomas, “The Shelflife of Political Art”, Hyperallergic, July 23rd, 2016
Slenske, Michael, “Donald Trump, the Muse: How 6 Artists Are Capturing the GOP Candidate”, New York Magazine, July 6th, 2016
Rayner, Alex, “Art house: Los Angeles and New York artists tackle the inequity of real estate”, The Guardian, May 31st, 2016
Rodney, Seph, “A Public Art Project Invites Gentrifiers to Confess Their Sins”, Hyperallergic, May 25th, 2016
Green, Chris, “Housing Costs Too Much: A Responsive Series of Awkward Dinner Conversations”, Art F City, May 23rd, 2016
Surana, Kavitha, “The Gentrification Art Show That Inspires ‘Intentional Awkwardness’”, Bedford+Bowery, May19th, 2016
Editors, “Editors’ Picks: 9 Art Events to See in New York This Week”, Artnet, May 16th, 2016
Angeleti, Gabriella, “The rent is too damn high: artists tackle New York’s gentrification problem”, The Artnewspaper, May 6th, 2016
Cotter, Holland, “Galleries Scramble Amid Brooklyn’s Gentrification”, The New York Times, April 21, 2016
Capps, Kriston, “New York City’s Unequal Housing Becomes a Stage for Public Art”, CityLab, April 6th, 2016
2015
Miranda, Carolina. “Datebook: A show about radical weavings, rooms that rain, architectural photography.” Los Angeles Times, October 30th, 2015
Rhys, Emma. “Show Me the Money – People’s History Museum, reviewed by Emma Rhys.” The Manchester Review, September 2015
Michno, Christopher “(UN)RELIABLY RANKING MFA EDUCATION: And Does Anyone Really Care?” Artillery Magazine, September 15th, 2015
Saltz, Jerry. “I Got Kicked Off of Facebook for Posting Images of Medieval Art.” New York Magazine, March 6th, 2014
Maneker, Marion. “William Powhida Doesn’t Think Much of Your Online Art.” Art Market Monitor, May 27th, 2105
Wilson, Calvin. “Contemporary Art Museum exhibition shows the art of being an artist.” St. Louis Post-Dispatch, May 6th, 2015
Martinez, Alanna. “The Theme for Pulse New York 2015 Is ‘The Future’.” The New York Observer, February 2nd, 2015
2014
Viveros-Faune, Christian. “The 50 Most Exciting Artists of 2014.” Village Voice, December 29th, 2014
Foumberg, Jason. “Toward an Egalitarian ArtPrize.” Art in America, October 15th, 2014
Vartanian, Hrag. “The Frontier of the Art World.” Hyperallergic, October 2nd, 2014
Chang, Richard. “Orange County Museum of Art explores art through an avant-garde lens.” Orange County Register, September 18th, 2014
Miranda, Carolina. “Crazy babies and pantyhose: 5 must-see works at OCMA’s ‘Avant-Garde’.” Los Angeles Times, September 10th, 2014
Davenport, Bill. “Old Times on the Island.” Glasstire, August 27th, 2014
Hopkin, Thomas. “Review: Show Me The Money: The Image of Finance, 1700 To The Present – NGCA, Sunderland.” Contemporary Art and Writing Journal, August 22nd, 2014
Whetstone, David. “Artists flash the cash in exhibition about finance.” The Journal UK, July 15th, 2014
Langer, Erin. “Prefab Paintings: William Powhida’s Unretrospective.” New American Paintings, 2014
Graves, Jen. ““To Break Even in Seattle Art, Your Paintings Have to Be Made in China.” The Stranger, May 7, 2014
Panero, James. “May Gallery Chronicle.” The New Criterion
Micchelli, Thomas. “Like It Is: William Powhida at Postmasters“, Hyperallergic
Viveros-Faune, Christian.“William Powhida Christens the “Overculture“, Village Voice
Rosenberg, Karen. “Glimpses of the Past and a High-Tech Future: A Critic’s Gallery Crawl Through Soho and Tribeca“, The New York Times
Gopnik, Blake. “Daily Pic: Powhida Gives Up, Grandly.” Artinfo
Sutton, Benjamin. “What to Look For, What to Buy at the Armory Show 2014.” Artnet, March 4th, 2014
D’Agostino, Paul. “5 Brooklyn Artists You Need to Know.” L Magazine, March 5th, 2014
2013
Cook, Liz. “At La Esquina: Wall Street, Main Street, Charlotte Street.” The Pitch, November 5th, 2013
Smith, Roberta. “Buring the Lede - News as Art.” The New York Times, October 17, 2013
Editorial. “Best Political Satirist - 2013” Village Voice, October 16th, 2013
Boucher, Brian. “Strong Sophmore Outing for Expo Chicago.” Art in America, September 23rd, 2013
Vartanian, Hrag. “Is All the Stuff at Art Fairs the Same-ish?” Hyperallgeric, September 20th, 2013
Harren, Natilee. “William Powhida.” Artforum, September 13th, 2013
Pepi, Michael. “Art About the Art World.” Brooklyn Rail, September 4th, 2013
Cemblest, Robin. “The Ultimate Map of Art-World Feuds.” Art News Magazine, August 15th, 2013
Haller, Vera. “In Bushwick, Artists Try to Rewrite Gentrification’s Usual Story.”The Wall Street Journal, August 2, 2013
Sutton, Benjamin. “Get Ready for DebtFair, Where Collectors Can Buy Works by Paying Off Artist’s Debt.”Blouinartinfo. July 31, 2013
Olshansky, Clara and Kimball, Whitney. “Why DebtFair? On Outing Debt, and the Mutual Aid Economy.”ArtFCity. July 19, 2013
D’Agostino, Paul. “What Do Brooklyn Artists Need?”The L Magazine. July 17, 2013
Winkleman, Edward. “A Conversation with William Powhida on the Contemporary Artist’s Narrative.”Edward Winkleman. July 1, 2013
Dacheux, Stacy. “William Powhida Uses The Medium Itself To Evaluate Art’s Criticism And Commercial Culture.” Beautiful Decay. June 28, 2013
Miranda, Carolina A. “The Bermuda Triangle of Art." Hyperallergic, May 21, 2013
Spaulding, Trevor. “William Powhida Paints in Earnest.”New American Paintings. May 7, 2013
Meyers, Holly. “Review: William Powhida wrly eyes the business of art.”Los Angeles Times. April 25, 2013
Sutton, Benjamin. “Curators Kyle Chayka and Marina Galperina Bring the Vanguard of Vine to the Moving Image.”BlouinArtinfo. March 17, 2013
Vidokle, Anton. “Art without Market, Art without Education: Political Economy of Art.”E-Flux, 2013 (publication)
Cohn, Hana. “100 Most Iconic Works of the Past Five Years.” Complex Magazine. Jan 8, 2013
2012
Brand, Will. “SEVEN: The Fair We Enjoy.”Artfcity, December 8, 2012
Gilsdorf, Bean. “Art and Vexation: Interview with William Powhida.”Daily Serving. Nov 7, 2012
Halperin, Julia. “In New Drawing, William Powhida Responds to Jerry Saltz’s Advice for Artists.”BlouinArtinfo, October 10, 2012
Editors. “The 100 Most Iconic Art Works of the Last 5 Years.”Blouin ArtInfo, Sept 17th, 2012
Apter, Emily. “Occupy Derivatives!/ Politics ‘smallest p’”October, Fall 2012
Sutton, Benjamin. “CNN Commissioned Election-Themed Art From Liz Magic Laser, William Powhida, And More.”BlouinArtinfo, August 23, 2012
Alday, Sean. “Notes from the 1%” Bushwick Daily, June 12, 2012
Cooper, Ashton. “There May Be Dancing” William Powhida on Tomorrow’s “Telethon for the 1 Percent.”BlouinArtinfo. June 8, 2012
Fox, Dan. “Changing Places.”Frieze, Summer, 2012
Powhida, William. “Why Are (Most) Artists (So Fucking) Poor?”Hyperallergic, April 13, 2012
Kimball, Whitney. “Village Voice Critics Address Art and Protest.”Artfcity, March 20, 2012
Parrish, Matthew. “William Powhida at Lycoming College.”SunGazette, March 18, 2012
Hearst, Alison. “William Powhida: Seditions”Pastelegram, March 16th, 2012
Van Horn, Rachael. “Artfully Stated.” Arts & Culture North TX, March 15th, 2012
Micchelli, Thomas. “Pie in the Sky When You Die: Art, Money and Myth.”Hyperallergic, April 28, 2012
Silva, Mariana. “William Powhida” E-Codigo, Feb-Mar, 2012
2011
Dempsey, Dean. “Pretty Pictures with William Powhida.”SFAQ, Dec 29, 2011
Miranda, Carolina A. “Biting The Hand That Feeds Them”, Art News, Dec, 2011
Chayka, Kyle. Alanna Martinez, “8 New York Art Picks for This Week, From Urs Fischer’s Mystery Show to William Powhida’s “Derivatives”,” Artinfo, October 19, 2011
“Show & Tell: William Powhida Takes on the Plutocracy at Postmasters Gallery,” In The Air, Art+Aucion, Artinfo, October 10, 2011
Johnson, Ken. “’POWHIDA’,” The New York Times, August 4, 2011
Cooper, Ashton. “Artist William Powhida Discusses the Outrageous Misbehavior That Notorious Art-World Wastrel, William Powhida,” Artinfo, August 1, 2011
Gopnik, Blake. “An Artist Turns Us All Into Puppets,” Newsweek Daily Beast, July 28, 2011
Droitcour, Brian. “William, It Was really Nothing,” Artforum, August 1, 2011
Finch, Charlie. “William Powhida Useless Tool,” artnet.com, August 3, 2011
Powhida, William. “Dispatch from Sheboygan: Week Three,” Hyperallergic, July 30, 2011
Chayka, Kyle. “The Joke Is On Whom?: Looking for the Punchline in William Powhida’s Burlesque of Art Stardom at Marlborough Gallery,” Artinfo, July 28, 2011
Nathan, Emily. “New Art Gallery Ramble,” Artnet.com July 28, 2011
Vartanian, Hrag. “POWHIDA Is a VIP Douchebag,” Hyperallergic, July 28, 2011
Wallin, Yasha. “William Powhida and the Art of Social Commentary,” Flavorpill, July 27, 2011
Powhida, William “Dispatch from Sheboygan: Week Two,” Hyperallergic, July 22, 2011
Powhida, William. “Dispatch From Sheboygan: On Memory,” Hyperallergic, July 15, 2011
Hirsh, Faye. “The Everyone Artwork”, Art In America, May, 2011
Bhatnagar, Priya. “I like the Art World and the Art World Likes Me”, Frieze,
May 2011
Kalm, James. “Brooklyn Dispatches: ‘B’ Fair To Brooklyn”, Brooklyn Rail, May, 2011
Moret, A. “If These Walls Could Talk”, Whitehot Magazine of Contemporary Art, April 2011
Panero, James. “Gallery Chronicle”, New Criterion, February 2011
Salmon, Felix. “A Guide To The Market Oligopoly System”, Reuters, December 28, 2010
O’Reilly, Sally. “Dirty Kunst”, Time Out London, December 22, 2010
Saltz, Jerry. “The Year in Art”, nymag.com, December 5, 2010
2010
“Art, #class Interview with William Powhida and Jennifer Dalton”, Idiom.com
Graves, Jen. “Magical Thinking”, The Stranger
Falvey, Emily. “All That Glitters Isn’t Gold:Kitsch, Bling-bling, and Bullshit”, ESSE arts + opinions, Spring / Summer, 2010
Cotter, Holland. “Art in Review: ‘#class’”, The New York Times
Haber, John. “Cutting Class”, Haberarts.com
Lindholm, Erin. “New York’s Satellite Fairs: Bling, String, and Subversive Things”, Artinamerica.com
“SHOW REVIEWED: #class at Winkleman Gallery, NYC”, Onereviewamonth.com
Diaz, Eva. “Critic’s Picks”, Artforum.com, February 28, 2010
Robinson, Walter. “Art Show as Think Tank”, Artnet.com
Lindholm, Erin. “The Art of the Crowd”, Artinamericamagazine.com
“New Museum Suicide Drawing Can Be Yours”, Artinfo.com
Jackson, Candace. “#class Exhibit Challenges New Museum Show”, Wall Street Journal
2009
Davis, Ben. “Ten Stories for 2009”, artnet.com
Kaplan, Steven. “William Powhida in A Tale of Three Covers”, post.thing.net
Saltz, Jerry. “Unearthed Classics and Reinvented Forms: The Best Art of 2009”, nymag.com
Davis, Ben. “Lost in Miami”, artnet.com
Cave, Damien. “Tweaking the Big-Money Art World on Its Own Turf”, The New York Times
Taft, Catherine. “Critics Picks: William Powhida at Charlie James”, artforum.com
Ollman, Leah. “Art review: William Powhida at the Charlie James Gallery”, Los Angeles Times
Robinson, Walter. “Artnet News: New Museum Brouhaha Goes Supernova”, artnet.com
Green, Tyler. “Artist William Powhida on the NuMu’s ‘suicide’”, Modern Art Notes The Brooklyn Rail, Cover illustration, November 2009
Hegardt, Bjorn. Fukt Magazine, Issue # 7 1/2 Wagner, James. “SchroRoWinkleFeuerBooneWildenRosenGosianGallery”, jameswagner.com
Cotter, Holland. “Art in Review: William Powhida ‘The Writing is on the Wall’”, The New York Times
Johnson, Paddy. “William Powhida at Schroeder Romero”, ArtFagCity.com
Orden, Erica. “Lastly, Play the Odds (But Just for Fun)”, New York Magazine
Farr, Kristin. “Ode to CheapTrick: Art Review ‘I Want You to Want Me’”, KQEDArts.org
Egan, Maura. “Members Only/Artist of the Month Club”, The New York Times online
2008
Art Lies, “Project Space”, pp. 24-29, reproduction of six works, Fall
Bancroft, Shelly and Peter Nesbett. “Letters”, art on paper
Hogan, Felicity. “Featured Artist”, Lower East Side Printshop Newsletter, Spring
Coburn, Tyler. “Special Focus: Reviews Marathon, New York; Air Kissing: Contemporary Art About the Art World; Momenta Art”, Art Review, February
Joselit, David. “All Tomorrow’s Parties”, Artforum, February
2007
“You read it here first!", The Art Newspaper, Art Basel Miami Beach Edition, Weekend, 8/9 December
Leffingwell, Ed. “William Powhida at Schroeder Romero”, Art in America
Kalm, James. “William Powhida ‘This is a Work of Fiction’”, The Brooklyn Rail
Saltz, Jerry. “This is a Work of Fiction”, Critics Pick, nymag.com
Waters, Juliet. “Chapbook Odyssey: ‘The Back of the Line’ illustrates the dark and stormy dangers of incompetent minds”, Montreal Mirror
Wolff, Rachel. “‘New York’ Magazine Loves William Powhida. Sort of.”, nymag.com
2006
Littman, Brett, “Material Culture”, www.wps1.org, edition #8
Polnyi, Irene, “William Powhida, come back to New York”, MediumNYC, April 19th, 2006
Tran, Tam, “Dialogue”, www.the-wick.com
Graves, Jen, “I’m Nobody Still”, The Stranger
Kelly, Sue, “William Powhida”, The Seattle Weekly
Miller, Jeffery, “William Powhida Interviewed by Jeffery Miller”, www.platformgallery.com
2005
Kalm, James, “The Ballot Show”, The Brooklyn, Rail, January
2004
Lippens Nate, “Whimsy and Cocaine Ziggurats,” The Stranger
Hackett, Regina, “These Artists’ Visions are all in ‘Paperwork’”, Seattle Post- Intelligencer
Kalm, James, “Bill of Wrongs: Will the Real William Powhida Please Stand up,” November/December
