New York, Sonnabend Gallery, Carroll Dunham, March 1993
H. Cotter, "Carroll Dunham," Art in Review, The New York Times, March 5, 1993 (illustrated)
A. Danto, "After the End of Art," Artforum, vol. XXXI, no. 8, April 1993, p.66 (illustrated)
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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