Judith Bernstein, Carroll Dunham, Alia Ali, and Tomashi Jackson talk about what got them through 2020.
“I can’t think of a better metaphor for our human construct of time than air slowly escaping from a balloon.”
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.
When Clement Greenberg, Frank Stella, and Donald Judd tried to define what makes a painting, they overlooked a central feature — capaciousness.
Carroll Dunham’s latest paintings of men acting out masculine rituals in his signature landscapes opens this Friday at Blum & Poe in Los Angeles.
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.
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.
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.
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.
The inaugural exhibition at the new Whitney Museum is not perfect, but it is pretty damn good.
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.
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.