Carroll Dunham - Contemporary Art Part I New York Thursday, November 15, 2007 | Phillips

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  • Provenance

    Metro Pictures, New York

  • Exhibited

    New York, Metro Pictures, Carroll Dunham, September 11-October 16, 1999; New York, New Museum, Carroll Dunham, October 31, 2002-February 9, 2003

  • Literature

    K. Siegel, “Carroll Dunham – Brief Article”, Artforum, February, 2000; D. Cameron, A.M. Homes, K. Kertess, L. Phillips, S. Schwartz, and M. Ritchie, Carroll Dunham: Paintings, New York / Ostfildern-Ruit, 2002, p. 129 (illustrated)

  • Catalogue Essay

    Drawing is the literal and figurative lifeline of Carroll Dunham’s art. For himimagining drawing and drawing imagination cannot be separated, nor canformal deliberation and spontaneous invention. More emphatically thanany of his generational peers Dunham renounced the bans imposed on thesubjective acts of the hand the artists Pop and Minimal in the 1960s. Withlyric vengeance he has reinstated the erotics of art.K. Kurtess, “Drawn into Consciousness,” Carroll Dunham: Paintings,New York, 2003, p. 26Undercurrents of rude sexuality and unstable eroticism, masculinity,colorful violence, comic aggression and conspicuously bad taste have beenfibers in the tapestry of Carroll Dunham’s artwork from the very beginning;since the early 1980s these elements have seeped from the surfaces ofpaintings that marry the graphic qualities of Pop with the process-orientedapproach of conceptualism and wash over both with the impolitelustfulness of painterly gesture in a career-long conflation of abstract andfigurative styles. Despite lingering hints of the organic, wood-grain formsthat characterized his early abstract work, in more recent pieces such asOnce I Land On Mars (Copied from Grace), 1999, Dunham’s painting hastended toward a crisper, cleaner figuration, depicting violent, intenselyanimated dystopias in simple, childlike terms reminiscent of comicillustration. For Dunham, early childhood is not simply the breeding groundof our most primitive instincts, rather the visual language of thisdevelopmental period also constitutes a direct aesthetic influence:“Dunham explicitly refers to a drawing by his young daughter in... Once ILand On Mars (Copied from Grace), in which goofy, sightless figures eruptfrom the side of a high-rise building, brandishing weapons and baring teeth.The painting plays to Dunham’s strengths: simplified forms and a starkcomposition that feels just right,” (K. Siegel, “Carroll Dunham,” ArtForum,February, 2002).

  • Artist Biography

    Carroll Dunham

    American • 1949

    Satire and sexuality meet Carroll Dunham's vivid brush in the artist's often large-scale fantasy worlds. His eye-popping cartoonish veneer takes a cue from Philip Guston while his primitive "visual language" of faceless figures continues a long line of tradition—think back to Paul Cézanne and Pierre-Auguste Renoir.

    Though Dunham jumps between abstraction, figuration, pop, surrealism and cartoon, his works almost exclusively center on the subject of women's sexuality. He also favors painting, though he has delved into prints, works-on-paper and sculpture. His paintings can be seen as contemporary variations on nineteenth-century portraiture of women bathing, injected with similar concerns of those classical and early modernist artists.

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22

Once I Land on Mars (Copied from Grace)

1999
Oil and graphite on linen.
102 x 76 in. (259.1 x 193 cm).
Signed and dated “Carroll Dunham July-Aug. 1999” upper left; signed, titled and dated “’Once I Land on Mars (copied from Grace)’ 1999 Carroll Dunham” on the reverse of stretcher bar.

Estimate
$150,000 - 250,000 

Sold for $433,000

Contemporary Art Part I

15 Nov 2007, 7pm
New York