Carroll Dunham (born 1949) has been exploring the subject of the wrestler since the 1980s, making it an ideal motif for the artist to pivot around as he begins to shift away from his fabled nude-in-landscape paintings of the past decade. Wrestlers brings together four recent, interconnected bodies of work. These are the Wrestling Place series (depicting two Herculean figures tussling against a barren panorama); the Self-Examination paintings (featuring intimately folded bodies within tensely cropped picture planes); the Wrestler suite (portraits of men facing away from the viewer and exposing scuffed, bruised backs); and The Golden Age (scenes of wrestlers rendered in pencil on gessoed linen). Published in connection with an exhibition at Blum & Poe, Los Angeles, this catalogue features a new essay by artist and writer Alexi Worth.
Published by Walther König, Köln. Text by Carroll Dunham, Alison Gingeras. Interview by Alison Gingeras.
First recognized for his wood veneer paintings in the 1980s, New York–based artist Carroll Dunham (born 1949) has gone on to explore a diverse range of subjects that test the boundaries of representational imagery and abstraction. This volume serves as a comprehensive survey of Dunham’s Bathers and Trees paintings from 2009–2012, and documents an exhibition at New York’s Gladstone Gallery. Mixing organic forms with unusual geometries, Dunham’s Trees paintings portray fallen or limbless trees in a style incorporating elements of Pop art, Surrealism and Expressionism. The pale, faceless and grotesque nudes of his Bathers series provide a contemporary context for the traditional bather motif.
This volume constitutes a 30-year survey of works on paper by New York-based painter Carroll Dunham (born 1949). Dunham’s visual lexicon, drawing on such precursors as Arshile Gorky, André Masson and Philip Guston, and populated by biomorphic forms equipped with grinding teeth, phallic noses, top hats, daggers and guns, expresses an unbridled and polymorphous sexuality in which conflict is overtly celebrated. Dunham produces one or more drawings per day, for weeks at a time or longer, and has now amassed an astonishing breadth of material and content. Included here are some 366 drawings by Dunham, spanning his early career in the 1980s to the present, and covering all aspects of his drawing practice. Published for a 2012 exhibition at Blum & Poe, it offers one of the most comprehensive evaluations of Dunham’s drawing practice to date.
Published by JRP|Ringier. Edited by Atle Gerhardsen, Isabella Nilsson. Text by Kate Linker.
New York artist Carroll Dunham makes figurative paintings and sculptures that frequently draw on that uniquely American dovetailing of Surrealism and cartoon idioms, of which the late Philip Guston would be an obvious instance, resounding with a libidinous zaniness. Dunham has built his pictorial vocabulary over three decades of grappling with the past century's rich heritage of painterly possibilities (including abstraction, which he practiced exclusively for many years); today one can detect traces of Léger, Guston and the various twists and turns of New York painting in the 1980s, when he began making abstractions on wood veneer. In the 1990s, Dunham's claim to fame was a series of cartoonlike organic figures, engaged in a bizarre battle of the sexes. Around the turn of the millennium, a single phallus-nosed character emerged in the work. And recently he has been working on tree-shaped forms. This volume gives an overview of Dunham's recent paintings and sculptures.
Writing in the New York Times, critic Ken Johnson observed that over the years the New York painter Carroll Dunham "has evolved restlessly while steering by the lights of a constant constellation of concerns: primal instinct, civilization, modern painting and comedy." (He also calls Dunham's subjects "big-headed male and female troglydites.") This comprehensive look at almost 15 years of small drawings finds Dunham's exuberant fedoras, phallic symbols and anthropomorphized amoebae consistent through more than a decade-and-a-half of stylistic growth and change. Dunham's work has appeared in, among other exhibitions, more than one Whitney Biennial and in a major 2002 retrospective at the New Museum of Contemporary Art, New York, and has been covered in Artforum, Vogue, Newsweek and the New Yorker. Dunham occasionally writes for Artforum, and he is represented by Barbara Gladstone in New York.
Published by Galerie Judin and Nolan/Eckman Gallery. Essay by Klaus Kertess. Introduction by Juerg Judin.
Exploration and radical change have distinguished New York painter Carroll Dunham's drawings and works on canvas since the beginning of his career. Drawings 1984-2004 documents 20 years of controlled yet delirious lines wrapping around biomorphic landscapes and curling into eruptive blobs and gobs, vividly colored planets and eyeless demons in taut interiors. Klaus Kertess's essay rightly places Dunham among "the explorers of line, Pollock, de Kooning, Twombly and Marden." Limited edition of 150 copies.
PUBLISHER Galerie Judin and Nolan/Eckman Gallery
BOOK FORMAT Hardcover, 12 x 9.75 in. / 61 pgs / 86 color and 9 bw.
PUBLISHING STATUS Pub Date 8/15/2006 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2006 p. 124
PRODUCT DETAILS ISBN 9783906801056TRADE List Price: $70.00 CDN $85.00
Published by Hatje Cantz. Artwork by Carroll Dunham, Matthew Ritchie. Edited by Dan Cameron. Text by A. M. Homes, Klaus Kertess, Lisa Phillips, Sanford Schwartz.
The extensive oeuvre of American painter Carroll Dunham has infused the discourse of representation versus abstraction with new life, while simultaneously pointing to a number of new directions in 20th-century painting, such as surrealism, action painting, abstract painting, and pop art. His unusual, original color compositions and independent use of forms and materials had a significant influence on contemporary artists like Fred Tomaselli and Matthew Ritchie. In Dunham's works, pictorial elements reminiscent of cartoons became recognizable details within an enlivened, abstract picture surface as early as the beginning of the 80s. Later in that decade, Dunham turned to larger formats, painting the expanses of his canvases with visually constant forms in fluid gesture: bodily shapes, reduced to pictographs, appeared repulsive and hairy, resembling tumors, teeth, or lips, in expressionist colors and with an impressive painterly quality. Recently, Dunham's pictures have become distinctly more figurative, displaying aggressive male and female caricatures, with buildings, planets, and boats becoming additional vehicles of human emotions and unbridled primary energies.