Rebecca Metzger - New Museum of Contemporary Art
The first major museum survey of the paintings of the highly influential American painter Carroll Dunham. Over 40 paintings by the artist spanning a twenty-year period.
New Museum of Contemporary Art presents
The paintings of Carroll Dunham
First major museum survey on view
October 31, 2002 - February 2, 2003
From October 31, 2002 - February 2, 2003 the New Museum of Contemporary Art will present the first major museum survey of
the paintings of the highly influential American painter Carroll Dunham.
Dunham's independence from prevailing stylistic norms and his idiosyncratic
combination of biomorphism, cartooning, and abstraction have expanded the
vocabulary of American painting and played a pivotal role in synthesizing
abstraction with representation. Co-curated by New Museum Director Lisa
Phillips and New Museum Senior Curator Dan Cameron, Carroll Dunham features
over 40 paintings by Carroll Dunham spanning a twenty-year period.
Beginning with his small, densely-worked abstract paintings on wood to his
large, expressive canvases of cartoon-like figures, this exhibition presents
the evolution of Dunham's work from the early 1980s to today. Building on
the tradition of early American Modernism, Surrealism, and Abstract
Expressionism, Dunham added the varied influences of Minimalism, Mayan art,
and pop culture. In all of Dunham's work, the expressionistic, eye-popping
color is a central quality that distinguishes his work from that of his
peers.
In the early 1980s Dunham's work was influenced by the post-minimal,
process-based art of Mel Bochner and Barry Le Va. In his paintings from this
time, Dunham's efforts to make his artistic decisions as clear as possible
resulted in a painstakingly detailed, color-based abstract style.
Representational elements, while identifiable, are adrift in a swirling
composition of abstract shapes. In these paintings, Dunham used panels with
wood-veneered surfaces instead of canvas, allowing the natural pattern of
the wood to guide and influence him. This early practice contributed to the
development of Dunham's simultaneously uninhibited and controlled use of the
line. In Fourth Pine (1982-1983), for instance, Dunham references the
natural world by revealing the wood surface through his paint, while forms
accrete and interact to suggest primal elements on the threshold of being.
By the end of the 1980s, Dunham began to make large scale paintings on
canvas. His style became increasingly fluid and gestural as he developed an
iconography of shapes and signs with bristling, hairy protusions suggestive
of tumors, teeth, and lips. At this time, Dunham also began adding Styrofoam
balls to the surface of his paintings, which added three dimensional depth
and other metaphorical allusions. Mound A (1991-1992), part of the Mound
series from this era, suggests a different world altogether, an unearthly
cosmos excavated from the artist's fantasy and pulsing with an animated
vitality.
By the mid-1990s Dunham's style once again shifted, as he introduced highly
reduced caricatures of men and women engaged in sexual and violent behavior.
Even buildings, planets, and boats became vehicles to express human behavior
driven by primordial urges. In Demon Tower (1997), poisonous yellow comic
demons urinate and wield knives as they tumble out of a Pepto-Bismol pink
towering structure.
Dunham's recurring use of cartoon-like characters strips away the
pretensions of the art world to reveal dark truths about the human
condition. In an interview conducted by Matthew Ritchie and published in the
New Museum catalogue of the exhibition, Dunham says, "I want to make art
that feels true, that can function as a window into realms that aren't part
of the day to day. I know that my art exists in this kind of tension between
irrational, almost goofy, things and extremely tight, formal, organized
things. That tension is where I live."
Although Dunham has never attained the recognition of super-star painters of
the 1980's, his unique vision has been a clear influence on the work of a
new generation of artists, including, among others, Fred Tomaselli and
Matthew Ritchie. Dunham's work has both inspired and participated in a broad
stream of recent painting that attempts to reconcile the competing claims of
abstraction and representation. This exhibition, the first retrospective of
Carroll Dunham's career, establishes his work as a compelling point of
convergence between important traditions in 20th century painting.
About Carroll Dunham
Carroll Dunham was born in 1949 in Old Lyme, Connecticut. He majored in
studio art at Trinity College, interned as an assistant to the painter
Dorothea Rockburne, and moved to New York when he was 23. By the mid-1970s,
several distinct components that formed the syntax of Dunham's art were
slowly coming together: his admiration for Flemish painting, particularly
the attenuated, tuberous figures of Dieric Bouts and the phantasmagoric
visions of Hieronymus Bosch; the subculture of psychedelia with its
sensationally lurid palette; and the attendant, mysterious aspects of
Surrealism, which provided Dunham with an especially rich vein to explore.
The young Dunham was also attracted to the vanguard minimalist paintings of
Robert Ryman, Robert Mangold, and Brice Marden.
Dunham had his first critical and commercial success during the early 1980s,
beginning with an exhibition at Artist Space in 1981. His work was included
in the 1985 Whitney Biennial and in several group exhibitions of the time,
both in the United States and abroad, that explored new, organic directions
in American painting. Dunham's paintings were part of the 1996 exhibition,
Deformations: Aspects of the Modern Grotesque, at the Museum of Modern Art,
and are in the permanent collections of the Museum of Modern Art, the
Whitney Museum of American Art, the Walker Art Center, and the Museum of
Contemporary Art, Chicago. He teaches in the Visual Arts graduate program at
Columbia University School of the Arts.
Catalogue
The 160-page exhibition catalogue includes critical essays by exhibition
curators Lisa Phillips, director, New Museum of Contemporary Art, and Dan
Cameron, senior curator, New Museum of Contemporary Art, and by art
historians Sanford Schwartz and Klaus Kertess; an extended interview with
Dunham by the artist Matthew Ritchie; and a short story by A.M. Homes based
on Dunham's paintings. ($35)
Public Programs
Thursday, November 21, 2002, 6:30-8.00PM, Conversation with Carroll Dunham
As part of the Conversations with Artists series, Senior Curator Dan Cameron
and artist Matthew Ritchie talk with Carroll Dunham about his paintings.
First floor gallery, free with Museum admission.
Thursday, December 12, 2002, 7:00-8.30PM, BOMBLive! at the New Museum
Carroll Dunham is interviewed by Mark Epstein, a psychiatrist and author of
Thoughts Without A Thinker and Going on Being, in the first of the BOMBLive!
series at the New Museum featuring some of the most exciting writers,
artists, musicians and directors today.
First floor gallery, free with Museum admission.
Funding
Carroll Dunham is made possible by a generous grant from the Andy Warhol
Foundation for the Visual Arts and through support from the Producers
Council of the New Museum.
About the New Museum of Contemporary Art
The New Museum, founded in 1977 and located in the heart of Soho, is the
premier destination for contemporary art in New York City. With an annual
schedule of dynamic exhibitions, the Museum presents the most innovative and
experimental work from around the world. Debate and discussion about
contemporary culture are encouraged through a broad range of educational
programs, publications, performances, and new media initiatives.
In the image: 'Island', 1998
Museum Hours Tuesday - Sunday: noon - 6:00PM
Thursday: noon - 8:00PM*
Closed Monday
Store Hours Tuesday - Sunday: noon - 6:30PM
Thursday: noon - 8:00PM
Closed Monday
Admission $6.00 general; $3.00 students/seniors
Free for members; visitors 18 and under free
*Thursday 6:00-8:00PM $3.00
Zenith Media Lounge free
Directions Subway: 6 to Spring Street or Bleecker Street
N/R to Prince Street
C/E to Spring Street
F/S to Broadway Lafayette
Bus: #1/#5/#6/#21 to Houston Street or Broadway
New Museum of Contemporary Art General Information
583 Broadway, New York, NY 10012
Telephone 212-219-1222
Fax 212-431-5328