Judith Bernstein, Carroll Dunham, Alia Ali, and Tomashi Jackson talk about what got them through 2020.
Carroll Dunham
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Artists Quarantine With Their Art Collections
“I can’t think of a better metaphor for our human construct of time than air slowly escaping from a balloon.”
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The National Academy of Design Presents an Evening “In Conversation” with Artists Carroll Dunham and Kyle Staver
In an intimate interview-style salon on October 23, Dunham and Staver will explore their inspirations, how their art represents everyday life, contemporary politics and more.
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Back When Painting Was Dead
When Clement Greenberg, Frank Stella, and Donald Judd tried to define what makes a painting, they overlooked a central feature — capaciousness.
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Carroll Dunham’s Erotic Paintings of Male Nudes at Blum & Poe
Carroll Dunham’s latest paintings of men acting out masculine rituals in his signature landscapes opens this Friday at Blum & Poe in Los Angeles.
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Knowledge About a Thing: Carroll Dunham’s Drawings
Drawings 1982-96 is a modestly titled but very revealing exhibition of drawings by Carroll Dunham, the bulk of which had been owned by Illeana Sonnabend, the artist’s New York gallerist from 1988 to 1994.
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Letting Go of the Distinction Between Figuration and Abstraction
LOS ANGELES — A Shape That Stands Up at Art + Practice (A+P) gallery, in partnership with the Hammer Museum, claims to “[examine] the space between figuration and abstraction” — a great starting point unless you have the sneaking suspicion that this space disappeared decades ago.
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Don’t Spook the Horse: Carroll Dunham on His New Work
The odd one out in Carroll Dunham’s current exhibition of paintings at Barbara Gladstone is “Culture as a Verb” (2013-2015). It’s the closest thing Dunham, or anyone in my recent memory, has come to painting the feeling of terrified, paranoid sorrow.
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Subversive Color at the Rose Art Museum
WALTHAM, Mass. — To say that painting is having a moment would be ironic – since, despite periodic claims regarding its demise or return, it clearly never went very far away.
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From Calder to Kruger, the New Whitney Museum’s First Show
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
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The Last Selfie
LOS ANGELES — It’s the end of selfies as we know it. Dearest selfie fanatics, this will be my last story for the Hyperallergic selfie column; after one year of chronicling the selfie’s rise to fame, we collectively decided to let this investigation go off into the netherlands of internet data trails.
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A Monstrous Woman: The Recent Paintings of Carroll Dunham
Carroll Dunham’s recent paintings are a dark comment on the tradition of the idyll, which goes back a long way in painting, and includes such modernist highpoints as Paul Gauguin’s “The Seed of the Areoi” (1892) and Henri Matisse’s “Luxe, Calme et Volupte” (1904) and “Joy of Life” (1906). In addition to celebrating rustic life, the idyllic tradition evokes an Eden-like world unaffected by evil and suffering.
