PRINT November 2002


On the occasion of the first major survey of the work of CARROLL DUNHAM, which runs through February 2, 2003, at the New Museum of Contemporary Art in New York, ROBERT STORR looks back on the career of this idiosyncratic artist who has spent over two decades “exploring Surrealism’s more id-enriched recesses.”

I FIRST SAW A WORK BY CARROLL DUNHAM NEARLY TWENTY YEARS AGO on a wall in Dorothea Rockburne’s studio. I was there to rehearse the execution of one of her wall drawings, Neighborhood, for the Museum of Modern Art’s 1984 show “A Century of Modern Drawing.” The Dunham in question was a smallish painting on paper, and the gnarled pink forms and dense gray ground of the image stood out in their brooding awkwardness against the expansive white perfection of Rockburne’s space. I couldn’t place the work aesthetically and had no idea who might have made it, until Rockburne told me that it was

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