For nearly six decades, Dotty Attie (b. 1938) has rigorously engaged the grid as a formal and conceptual tool, masterfully rendering her small-scale drawings and canvases to create cadenced arrangements that disrupt the accepted art historical canon. Attie’s lifelong dedication to recontextualizing sourced images with unique text has resulted in a profoundly original body of work that questions societal conventions and reveals to the viewer “the parts of ourselves that we don’t really share with anybody else.” A presence in the New York art scene since the late 1960s, Attie co-founded A.I.R. Gallery, the first all-female cooperative artists’ gallery, in 1972. Attie was born in Pennsauken, New Jersey and lives and works in New York City. She received a BFA from the Philadelphia College of Art, Philadelphia, PA, in 1959 and attended the Art Students League, New York, NY in 1967. In 2013, Attie was inducted into the National Academy of Design. Her work is in the collections of the Yale University Art Gallery, New Haven, CT; Walker Art Center, Minneapolis, MN; the Museum of Modern Art, New York, NY; the Whitney Museum, New York, NY; and the Brooklyn Museum, New York, NY; among others. Attie’s work has been the subject of solo exhibitions at P·P·O·W, New York, NY; Cantor Arts Center at Stanford University, Stanford, CA; the New Museum, New York, NY; Wadsworth Atheneum Museum of Art, Hartford, CT; and A.I.R. Gallery, New York, NY; among others. In June 2023, she presented What Surprised Them Most, her eleventh solo exhibition at P·P·O·W.  

Elizabeth Glaessner (b. 1984) conjures a saturated, densely layered world of transformation and multiplicity. Inviting amorphousness in her subjects and environments, Glaessner’s surreal universe is populated by evocative forms in various states of becoming or undoing. Rich with art historical and cultural allusions, her work offers no narratives or fables, but rather evokes nebulous atmospheres unmoored by virtue and vice. Working in oil, acrylic and pure pigments dispersed with water and various binders, Glaessner’s technique shifts between formal articulation and non-representational gesture. Glaessner was born in Palo Alto, California and grew up in Houston, Texas. After receiving her BA from Trinity University in 2006, she moved to New York and completed her MFA at the New York Academy of Art in 2013. She was awarded a postgraduate fellowship at the New York Academy of Art in 2013, a residency at GlogauAIR, Berlin in 2013 and a residency at the Leipzig International Art Programme in 2012. In February 2022, P·P·O·W presented Phantom Tail, Glaessner’s third solo exhibition with the gallery. In 2022, she presented Four Legs in a Garden, her first institutional solo exhibition, at Le Consortium, Dijon, France. Glaessner presented Dead Leg, her first solo exhibition at Perrotin, Paris, France, in fall 2022. Her first solo show with François Ghebaly, Los Angeles, will open in spring 2024.  

Rooted in the California Bay Area counterculture of the 60s and 70s, Judith Linhares (b. 1940) composes folkloric, figurative paintings from confident, abstract brushwork, utilizing broad strokes and brilliant fields of color to gradually develop her subjects. Harnessing portentous yet quotidian symbols, her uniquely irradiant paintings celebrate the female body and communal experience. Linhares earned her BFA and MFA degrees from California College of Arts and Crafts in Oakland, CA. Her work is in the permanent collections of the Whitney Museum of American Art, New York, NY; the Smithsonian American Art Museum, Washington, DC; San Francisco Museum of Modern Art, San Francisco, CA; Yale University Art Gallery, New Haven, CT; the de Young Museum, San Francisco, CA; and the Pennsylvania Academy of Fine Art, Philadelphia, PA, among others. Linhares’ second solo exhibition at P·P·O·W, Banshee Sunrise, opened in April 2022. Linhares presented Honey in the Rock, her first solo exhibition at Massimo de Carlo, London, UK, in spring 2023. In November 2023, Linhares presented a collection of rarely seen works from the 1970s in Love Letters from San Jose, her first exhibition at Parker Gallery, Los Angeles, CA. 

In her ongoing series of nude self-portraits, which she has been expanding upon for almost a decade, Erin M. Riley (b. 1985) elevates the culturally pervasive selfie to a distinctly contemporary form of self-portraiture. Her meticulously crafted, large-scale tapestries depict intimate, erotic, and psychologically raw imagery, revealing the range of women’s lived experiences and how trauma weighs on the search for self-identity. Riley notes, “To see any textile is to experience the journey of the maker.”  Navigating a space in which the body is both desired and deplored, Riley contends with the intertwining of pleasure and fear in the formation of sexual identity. Riley received her BA from the Massachusetts College of Art and Design and an MFA from the Tyler School of Art. Her work has been included in exhibitions at P·P·O·W, New York, NY; Galerie Julien Cadet, Paris, France; Kohn Gallery, Los Angeles, CA; Henie Onstad Kunstsenter, Høvikodden, Norway; The Frances Young Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, NY; Gana Art Gallery, Seoul, Korea; among others. Her work was recently featured in 52 Artists: A Feminist Milestone at The Aldrich Contemporary Art Museum, CT, manifesto of fragility, the 16th Lyon Biennale of Contemporary Art, and Kingdom of the Ill at Museion, Bolzano, Italy. Riley’s work is on view in The Myth of Normal at MassArt, Boston, MA, through May 2024. In 2024, she will present a solo exhibition at Galerie Julien Cadet, Paris, France. The Invisible Third, a solo exhibition of new work, will be on view at UTA Artist Space, Los Angeles, CA, from March 21 – April 20, 2024. 

Known for her large-scale paintings of stylized, yet ambiguously generated female figures, Robin F. Williams (b. 1984) employs a variety of techniques, including oil, airbrush, poured paint, marbling, and staining of raw canvas to create deeply textured and complexly constructed paintings. Combining a masterful technical understanding with an innate sense of curiosity, Williams fuses practices from social media channels such as Instagram, TikTok, and YouTube with references to early modernism, pop culture, advertising, and cinema, to challenge the systemic conventions around representations of women. Williams received her BFA from the Rhode Island School of Design and has presented solo exhibitions at P·P·O·W, New York, NY; Various Small Fires, Los Angeles, CA; Bard College at Simon’s Rock, Great Barrington, MA; and Jack the Pelican Presents, Brooklyn, NY. Her work has been featured in numerous group exhibitions nationally and internationally including Present Generations, Columbus Museum of Art, Columbus, OH; Bitter Nest, Galerie Perrotin, Tokyo, Japan; XENIA: Crossroads in Portrait Painting, Marianne Boesky Gallery, New York, NY; Nicolas Party: Pastel, Flag Art Foundation, New York, NY; SEED, curated by Yvonne Force, Paul Kasmin Gallery, New York, NY; and more. Her work is currently in the permanent collections of the Brooklyn Museum, Brooklyn, NY; Collection Majudia, Montreal, Canada; Columbus Museum of Art, Columbus, OH; Institute of Contemporary Art, Miami, FL; Montreal Museum of Fine Arts, Monreal, Canada; X Museum, Beijing, China; among others. A solo exhibition of her work, Watch Yourself, opened at Morán Morán, Mexico City, Mexico, in September 2023. We’ve Been Expecting You, Williams’ first solo institutional exhibition, will be on view at the Columbus Museum of Art, Columbus, OH from April 5 – August 18, 2024.