reviews

Carroll Dunham

For followers of Carroll Dunham’s work, the notion that his art requires a long-term commitment from the viewer is part of the shared faith that comes with the territory. Since he first began to appear in group shows twenty years ago, Dunham’s singular use of process in the deployment of color and drawing has made him the odd man out in discussions of recent American painting. Too analytical, introspective, even principled to be lumped in with any school, he is nevertheless claimed by a range of artists who see him as a rare standard-bearer in a morass of contemporary styles that seem increasingly defined by the subordination of artistic invention to the latest wrinkle in critical mores. It seems you either begin your individualized pantheon of significant painters with Dunham or you risk leaving him out altogether, since one of his most striking characteristics as an artist is that he

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