P·P·O·W is pleased to announce a one-person booth of works by Dotty Attie, which span her career from the early 1970s to the present. A presence on the New York art scene for over fifty years, Attie is one of the founding members of A.I.R. Gallery, the first all-female cooperative artist’s gallery, founded in 1972. Her work is a fusion of minimalism, appropriation, and feminism and has consistently balanced emotional depth with critical inquiry. Since her earliest exhibitions, Attie’s work has rigorously engaged the grid as a formal and conceptual tool. She decontextualizes canonical works by Old Master painters and Modern photographers, who, not incidentally, are all male. Text panels are interwoven with her drawings or paintings to imbue her images with violence, eroticism and psychological imbalance.

Attie's first solo exhibition at P·P·O·W in 1988 marked a shift to working exclusively in series of 6 x 6-inch canvases that operate with rhythmic, cinematic structure. One such work, Resistance and Refusal Mean Consent / Justice 2002, depicts a high-profile crime from arraignment to execution. In this work, Attie's square portraits of male architypes – lawyers, policemen, journalists, and the accused – depict a scene wherein moral absolutes crumble and everyone shares the blame. As provocative today as when she painted it, Attie's text panels are a rejoinder to systemic male violence. They read: “Sometimes a traveler in foreign lands, where customs and mores are unfamiliar, will find to his surprise that in certain places and at certain times, resistance and refusal mean consent."