A detail from Carroll Dunham, “Fourth Pine” (1982-84), which was painted on knotty wood. The grain is worked into the composition. Skarstedt Gallery

Kudos to Sharon Butler at Two Coats of Paint for bringing the Carroll Dunham exhibition to my attention. [Read more…]

In 1983 Klaus Kertess described the aesthetic of these paintings as “self-hallucination which initially suggests a multiple organ transplant performed by a surgeon with a degree in Surrealism.” Although admittedly having drawn inspiration from the likes of Yves Tanguy and Salvador Dali, Dunham’s thought process was purely abstract. The sublime nature of the distinguishable figures in these paintings namely the phalluses (Fourth Pine, 1982-84), knobby nipples (Fifth Pine, 1984-85), the tree sprout (Untitled, 1984) allude to a primordial pool, an abstraction of consciousness and formation. In a recent interview regarding this body of work Dunham states, “I was obviously aware I was drawing phalluses (I wasn’t that far gone), but I saw them as symbols, almost as boundary markers, or maybe radioactive objects in a kind of natural environment.”

Carroll Dunham: Paintings on Wood, 1982-87” continues through April 5 at Skarstedt Gallery, 20 East 79th Street, Manhattan; (212) 737-2060, skarstedt.com