Carroll Dunham
Female Portrait (Five), 2000
Mixed media on linen, 57 × 69 inches (144.8 × 175.3 cm)
Photo by Douglas M. Parker Studio
Carroll Dunham
Becoming a Painting, 2000
Mixed media on linen, 59 × 70 inches (149.9 × 177.8 cm)
Photo by Douglas M. Parker Studio
Carroll Dunham
Shootist, 2000
Mixed media on linen, 51 × 111 inches (129.5 × 281.9 cm)
Photo by Douglas M. Parker Studio
Carroll Dunham
Female Portrait (Four), 2000
Mixed media on linen, 77 × 62 inches (195.6 × 157.5 cm)
Photo by Douglas M. Parker Studio
Carroll Dunham
Alpha, 2000
Mixed media on linen, 100 × 74 inches (254 × 188 cm)
Photo by Douglas M. Parker Studio
One of Dunham's greatest gifts is his ability to comprehend what the culture constructs as real. In turn, it can be fairly said that his paintings, core samples from his own psychological terrain, are touchstones of human emotion. What I see as real in his art is a living strain of painting's impurity, and therefore its future.
—Ronald Jones, "The Funny Biology of Evil," Carroll Dunham: Selected Paintings, 1990–95, School of the Museum of Fine Arts, Boston, MA, 1995
Gagosian Gallery Los Angeles is pleased to announce an exhibition of new works by Carroll Dunham.
The exhibition is comprised of six paintings that the artist refers to as “portraits,” three male and three female. In them, Dunham continues to use animated figures to explore the formal and psychological issues for which he has become most well known. The new paintings however, have figures that have become much more iconic and monumental.
All of the paintings were worked on simultaneously from late 1999 and throughout most of 2000. The first in the series entitled, Alpha, depicts an archetypal male who is surrounded of by splashes of paint, graphic marks, stains and scribbles. It is clear that inspiration is taken from contemporary masters such as Cy Twombly, Arshile Gorky, Joan Miró and even Jean Dubuffet and William Copley, but Dunham's male is thoroughly contemporary and seems to be caught in the psychology of our present moment.
In conjunction with the memorial service for Brice Marden held at the Museum of Modern Art, New York, Mirabelle and Melia Marden produced a short film directed by Chiara Clemente to honor the late artist. Featuring interviews, archival photographs, and family videos, this film captures Marden’s vibrant life and enduring cultural impact.
The Summer 2024 issue of Gagosian Quarterly is now available, featuring a detail of Roy Lichtenstein’s Bauhaus Stairway Mural (1989) on the cover.
John Elderfield and Lauren Mahony of Gagosian speak with the National Gallery of Art’s Harry Cooper about the new and expanded version of Elderfield’s 1989 monograph on Helen Frankenthaler that Gagosian, in collaboration with the Helen Frankenthaler Foundation, will publish this summer. The conversation traces Elderfield’s long interest in Frankenthaler’s work—from his time as a young curator at the Museum of Modern Art, New York, to the present—and reveals some of the new perspectives and discoveries awaiting readers.
The Warp of Time celebrates a hundred years of shared history between the Old Carpet Factory, a historical mansion located on the Greek island of Hydra, and Soutzoglou Carpets. Here, Salomé Gómez-Upegui interviews curator Ekaterina Juskowski about Helen Marden’s woven works within the context of the exhibition, touching upon themes of history, memory, and creative expression.
The exhibition Enzo Mari, curated by Hans Ulrich Obrist with Francesca Giacomelli at the Design Museum, London, runs through September 8. Taking a cue from this major retrospective, Bartolomeo Sala delves into Mari’s practice and convictions.
David Cronenberg’s film The Shrouds made its debut at the 77th edition of the Cannes Film Festival in France. Film writer Miriam Bale reports on the motifs and questions that make up this latest addition to the auteur’s singular body of work.
The Olympic and Paralympic Games arrive in Paris on July 26. Ahead of this momentous occasion, Yasmin Meichtry, associate director at the Olympic Foundation for Culture and Heritage, Lausanne, Switzerland, meets with Gagosian senior director Serena Cattaneo Adorno to discuss the Olympic Games’ long engagement with artists and culture, including the Olympic Museum, commissions, and the collaborative two-part exhibition, The Art of the Olympics, being staged this summer at Gagosian, Paris.
Join Brooke Holmes, professor of Classics at Princeton University, and Lissa McClure and Katarina Jerinic, executive director and collections curator, respectively, at the Woodman Family Foundation, as they discuss Francesca Woodman’s preoccupation with classical themes and archetypes, her exploration of the body as sculpture, and her engagement with allegory and metaphor in photography.
Ashley Overbeek speaks with three experts in the field of arts in medicine.
Join Vladimir Yavachev, director of operations for the Christo and Jeanne-Claude Foundation, as he discusses the genesis of the artist’s work Wrapped 1961 Volkswagen Beetle Saloon (1963–2014), which Gagosian presented at Art Basel Unlimited 2024.
In conjunction with Marks and Whispers, at Gagosian, Rome, Oscar Murillo and Alessandro Rabottini sit down to discuss the artist’s paintings and works on paper in the exhibition, as well as how the show emphasizes the formal, political, and social dimensions of the color red in Murillo’s work of the last decade.
Michael Ovitz, cofounder of Creative Artists Agency (CAA), looks back to 1989, the year he and the architect I. M. Pei commissioned Roy Lichtenstein to create the Bauhaus Stairway Mural for the then new CAA Building in Los Angeles. Through the experience of working with Lichtenstein, Ovitz formed a meaningful friendship with the artist.
