Sep 20 - Oct 22, 2016. This exhibition marks Dunham’s second solo presentation with the gallery. Among the recurring figures in his work are wave-like forms, hatted male figures in a variety of settings, trees set in pastoral landscapes, and nude female bathers.These motifs have provided an armature for a continuous and seemingly self-generating practice in which paintings appear to evolve and differentiate from earlier versions of themselves. Is that still the case?Hyperallergic is a forum for serious, playful, and radical thinking about art in the world today. His printmaking activities over the previous couple years had shown that he could work from a blank sheet and did not need the support of the wood grain to summon up gestures and images. Finally, ink washes suggest space. Newman was interested in mathematical models; Winters was using plant and crystal structures; Kendrick was interested in process; and Dunham was consciously allowing biological forms into his work through the wood surfaces that provide a physical base for his paintings and drawings.Dunham and his peers had emerged from a conceptual and process-oriented New York milieu in which a number of artists were exhibiting and redefining drawing as a primary medium, including Barry Le Va, Dorothea Rockburne (who Dunham and Kendrick assisted), Mel Bochner, and Sol Lewitt. Carroll Dunham. Winters lived above them. And I framed them.” In these drawings the focus is on gesture and extrapolation from the visual hints in the veneers, which are sometimes used whole and other times cut into strips and reassembled. And I knew I’d want to be able to reconstruct how I’d experienced my art as it happened.” A decade later, after multiple exhibitions and publications, viewers are more accustomed to Dunham’s scrappier drawings than the more consciously ambitious works in this exhibition.The Gladstone show begins with work from 1982, when Dunham was just finding his way with the paintings on wood for which he would first gain notice. James Barron Art . So, following his usual line of thinking, the artist took a cue from the work itself and followed a shape hanging down like a ginger root in “Untitled” 1987 one of his final paintings on wood. They show a side of Dunham (“My whole pot-head and acid-head side coming out”) that never found expression in his paintings. Before 1980 Thumbnails. (506 results) He decided to take that shape as his generative starting point.In 1988, Illeana Sonnabend visited the artist’s studio expecting to find the latest veneer paintings. About the Installation Gladstone 64 is pleased to announce an exhibition of early drawings by Carroll Dunham. I Accept. Dunham was in his early 30s and his closest artist friends were Winters, Mel Kendrick, and John Newman.

I just used white gesso, black paint, carbon pencils, crayons and whatever. As Mel Bochner notes, “He has an extremely sophisticated sense of where to put something on a page, where to press harder, where to back off, and an ability to make judgments and decisions in the moment. Get the latest news on the events, trends, and people that shape the global art market with our daily newsletter.©2020 Artnet Worldwide Corporation. Carroll Dunham - Now and Around Here (1), 2011–15 (Left) / Now and Around Here (3), 2015 (Right) Painting as the Mixture of Craft and Philosophy.
Carroll Dunham: A Drawing Survey. He took as his job breaking out of the age of rectangles and seriality.” Bochner is here alluding to Dunham’s 1983-1985 painting “The Age of Rectangles,” which treats the canvas as a site for nearly anarchic experimentation, without regard for linear progress, grids, flatness, tasteful coloration, or the idea of a contained art object. 29.8 x 22.5 cm. Beginning Tuesday, July 21, the Los Angeles and Tokyo galleries will be open by appointment only. Some people connect Dunham’s work with cartoons. Moreover, printmaking had given Dunham access to multiple kinds of paper, allowing for surface experiments he hadn’t yet considered. Connecting these and other artists was the removal of both the image and the artist’s sensuous touch, replaced with rigorous conceptual procedures.

He simply didn’t know what his paintings should be anymore. Our website uses cookies to improve user experience. To make a reservation and for visiting information, please click In “Untitled (3/15/84)” (1984), Dunham applies a coat of yellow to an extant vertical area of a wood veneer, and then draws forms on top of it, as though extracting internal shapes from the material. Mixing elements of Pop art, Surrealism, Neo-Expressionism, and Abstract Expressionism through a stylistically rich career joining abstraction and figuration, Dunham's paintings … Tip doesn’t come from the age of rectangles. Those rubbed-in holes, scratched hatches and loop-de-loops are emboldened with potentiality.The recent government threats to TikTok raise questions about the future of the internet, which we once saw as free and democratic. Dunham’s A group of drawings from earlier that year, including “Untitled (1/20/88)”, seems primarily concerned with spontaneous contact between crayon and paper. To her credit, two or three days later she called me and said ‘I like your work a lot’ and offered me a show.”These new shapes were simultaneously explored in Dunham’s paintings and drawings, both centered on single colored objects. With the arrival of “Pink Mound with Eruption (5/18/93, 5/19/93)”, (1993), Dunham literally and figuratively found the ground from which buildings, heads, trees, men, and women would spring. [Image at top: Carroll Dunham, Large Bather (quicksand), 2006-2012, mixed media on linen; 96 1/4 x 119 inches. 1 of 18. To make a reservation and for visiting information, please click here. Our exhibition follows the development of Dunham's works on paper as he moves from earlier abstracted forms to more figurative drawings. This show is about the essence of drawing.

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