Universal Limited Art Editions
Where Am I?
Where Am I?
Carroll Dunham
Carroll Dunham was invited to ULAE by Bill Goldston in 1984. He has since experimented with lithography, intaglio, wood engraving, screen printing and most recently digital printing. Dunham's references to art history are subtly filtered through memory and association. His high-key, often day-glo colors bring to mind cartoons and album covers of the 1960s, while the biomorphic forms that recur throughout his work — the wave, the mound, genitalia, tongue, and teeth — satisfy the subconscious urges of a child's doodling. As a result, Dunham's prints, like his paintings, function on many levels. A single polymorphous shape may simultaneously suggest the internal meanderings of body's structure, a topographical landscape, or an abstract maze.
Dunham often works in series and has a fondness for print portfolios that gather individual prints together into an inclusive whole. The exhibition includes his first print portfolio Red Shift (1988) as well as the artist's most recent portfolio Green Self Models (2022). Dunham is especially known for his series Bathers, Wrestlers, and Trees, with pictures rooted in art history, pop culture, and the artist’s personal life.
Image Credit:
Carroll Dunham, Wave, 1988-1990
For this online exclusive exhibition 'Where am I?' we celebrate Dunham's current museum exhibition of the same name at the National Museum in Oslo. The museum exhibition includes many of the works found in this online exclusive, all of which were printed and published by ULAE.
Larissa Goldston, Director
Master printer Bruce Wankel printing a plate on the offset lithographic press for Carroll Dunham's editions "Green Self Models."
Video by Jordan Westfall
Carroll Dunham looking at proofs and BATs of various editions.
Carroll Dunham working on a litho stone with printmaker Keith Brintzenhofe for Dunham's print "Red Shift."
B. 1949 After attending Trinity College in Hartford, Connecticut, Carroll Dunham moved to New York in the early 1970s. He began making abstract paintings with an aesthetic that sought inspiration not from the dominant minimalist ethos, but from surrealism, abstract expressionism, and pop-art. From them he gleaned a desire to tap into the subconscious, a need to mine the emotional power of color, and the freedom to assimilate aspects of popular culture into his work. He had his first one-person exhibition in New York at Artists Space in 1981 and his paintings have twice been featured in the Whitney Museum of American Art’s Biennial Exhibition (1985 and 1995).
Dunham’s references to art history are subtly filtered through memory and association. His high-key, often day-glo colors bring to mind cartoons and album covers of the 1960s, while the biomorphic forms that recur throughout his work — the wave, the mound, genitalia, tongue, and teeth — satisfy the subconscious urges of a child’s doodling. As a result, Dunham’s prints, like his paintings, function on many levels. A single polymorphous shape may simultaneously suggest the internal meanderings of body’s structure, a topographical landscape, or an abstract maze.
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