Dotty Attie
| Dotty Attie | |
|---|---|
| Born | 1938 Pennsauken, New Jersey |
| Nationality | American |
| Education | B.F.A., Philadelphia College of Art (1959) |
| Known for | Painting, printmaking, photography |
| Awards | Beckmann Fellowship (1960) |
| Elected | National Academy (2013) |
Dotty Attie (born 1938, Pennsauken, New Jersey) is an American painter and printmaker. She has been exhibiting in museums and galleries worldwide since the 1960s.
Attie discovered her interest in art at an early age, as she found that she was interested in drawing. She was heavily influenced by her father, who brought her to art classes in Philadelphia and provided her with art books, most notably ones with illustrations of works by Jean-Auguste-Dominique Ingres. Although her favorite living artist happens to be Gerhard Richter.
Attie continued her education at the Philadelphia College of Art, where she graduated with a Bachelor of Fine Arts degree in 1959. While in college, Attie was primarily an Abstract Expressionist painter, but often realistically recreated the likeness of photographs on her canvases. Following her time at the Philadelphia College of Art, Attie continued her education through fellowships at the Brooklyn Museum of Art School in 1960, and the Art Students League in 1967.
Attie's work in the 1960s received some attention, but gained far more recognition after her involvement in A.I.R. Gallery. In 1972, she was one of the co-founders of A.I.R., a non-profit cooperative gallery and one of the first to exclusively feature the work of women artists. As an early artist-member, Attie helped the group to choose a gallery space and recruit members. Attie had her first solo show at the gallery in 1972. Shortly after, she felt the freedom to rediscover her early passion for drawing. Later, she was an integral part of the gallery’s establishment of an international presence, and helped to secure shows in Paris, Israel, and Japan.
While still a member of A.I.R., Attie began to solidify her personal style, which remained fairly consistent throughout her career; she typically deconstructed existing images—such as Old Master paintings and early 20th Century black-and-white photographs—and her works often included text to create a narrative. Therefore, some of her works contain small pictures that were copied from other, sometimes famous, works by Caravaggio, Gustave Courbet, Thomas Eakins, and Ingres. Some of these pictures have been taken from the backgrounds of earlier works, bringing new perspectives to features which may have been formerly overshadowed. This produces a quality of differing scale, paired with short segments of text, which creates a cinematic quality throughout. The text and pictures are related, but do not contribute to a clear narrative, allowing the viewer to fill in the blanks left by the artist. Furthermore, her multi-panel paintings explore the depictions of the body in the history of art and critique the gender bias in the art world. Because Attie, at times, has meticulously repainted well-known works but presented them in fragments or with other modifications, her work has addressed the concepts of originality and reproduction.
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