new-york

Dotty Attie

P.P.O.W

Dotty Attie continues to make antipatriarchal work, using a combination of image fragments drawn from the works of well-known male artists and texts she has invented. Attie’s work has a contrived, sinister look, the latter deriving more from the texts than the image fragments, although the subtle incoherence generated by each work’s sequence of panels helps it along. Masters, 1988, epitomizes Attie’s ambition. We see George Stubbs, Ingres, Eakins, Caravaggio, and Vermeer, each in a small, cropped facial portrait that forces the boundaries of the six-by-six-inch format. Scale is effectively used to convey the artist’s self-inflation. In general, one can regard these works as part of the increasingly common practice of demythologization of artists by other artists, the corrosive “deconstruction” of the work of one by another.

What strikes me about Attie’s work is its destructiveness, which

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