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  • Provenance

    Metro Pictures, New York

  • Literature

    L. Phillips and New Museum of Contemporary Art, eds., Carroll Dunham Paintings, New York, 2002, p. 80 (illustrated)

  • Catalogue Essay

    Creating something that doesn’t already exist is not a simple matter, and Dunham has succeeded in bringing us closer to the archetypal dilemma of pure creative force than any other painter of his generation. His paintings do not placate or instruct, nor do they dryly solve a set of formal problems meant to stand for the current limitations of painting as a communicative practice. On the contrary, Dunham’s paintings often embarrass or make their viewers uncomfortable, and they have been described variously as melancholic, misanthropic, and threatening. To interpret them in these terms would be to completely miss the artist’s point in creating them. Dunham’s paintings are not meant to be disturbing, but rather to be as true as possible to the impulse that drives them into the light of day, an impulse that runs in a deep vein directly to the furthest regions of the human psyche. (D. Cameron, “Second Nature,” Carroll Dunham Paintings, New Museum of Contemporary Art, New York, 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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26

Untitled (Purple)

1993-1994
Styrofoam, sand, crayon, graphite, and oil on canvas.
80 x 50 x 5 1/4 in. (203.2 x 127 x 13.3 cm).
Signed and dated "Carroll Dunham Nov.93 Jan Feb 94" along upper edge. This work is accompanied by a certificate of authenticity and a photograph signed by the artist.

Estimate
£50,000 - 70,000 

Sold for £80,400

The Marino Golinelli Collection

Collection
13 October 2007, 1pm
London