Carroll Dunham Once I Land on Mars (Copied from Grace) 1999 Oil and graphite on linen. 102 x 76 in. (259.1 x 193 cm). Signed and dated “Carroll Dunham July-Aug. 1999” upper left; signed, titled and dated “’Once I Land on Mars (copied from Grace)’ 1999 Carroll Dunham” on the reverse of stretcher bar.
Provenance Metro Pictures, New York Exhibited New York, Metro Pictures, Carroll Dunham September 11-October 16, 1999; New York, New Museum, Carroll Dunham October 31, 2002-February 9, 2003 Literature K. Siegel, “Carroll Dunham – Brief Article”, Artforum, February, 2000; D. Cameron A.M. Homes, K. Kertess, L. Phillips, S. Schwartz, and M. Ritchie, Carroll Dunham Paintings, New York / Ostfildern-Ruit, 2002, p. 129 (illustrated) Catalogue Essay Drawing is the literal and figurative lifeline of Carroll Dunham’s art. For himimagining drawing and drawing imagination cannot be separated, nor canformal deliberation and spontaneous invention. More emphatically thanany of his generational peers Dunham renounced the bans imposed on thesubjective acts of the hand the artists Pop and Minimal in the 1960s. Withlyric vengeance he has reinstated the erotics of art.K. Kurtess, “Drawn into Consciousness,” Carroll Dunham Paintings,New York, 2003, p. 26Undercurrents of rude sexuality and unstable eroticism, masculinity,colorful violence, comic aggression and conspicuously bad taste have beenfibers in the tapestry of Carroll Dunham’s artwork from the very beginning;since the early 1980s these elements have seeped from the surfaces ofpaintings that marry the graphic qualities of Pop with the process-orientedapproach of conceptualism and wash over both with the impolitelustfulness of painterly gesture in a career-long conflation of abstract andfigurative styles. Despite lingering hints of the organic, wood-grain formsthat characterized his early abstract work, in more recent pieces such asOnce I Land On Mars (Copied from Grace), 1999, Dunham’s painting hastended toward a crisper, cleaner figuration, depicting violent, intenselyanimated dystopias in simple, childlike terms reminiscent of comicillustration. For Dunham, early childhood is not simply the breeding groundof our most primitive instincts, rather the visual language of thisdevelopmental period also constitutes a direct aesthetic influence:“Dunham explicitly refers to a drawing by his young daughter in... Once ILand On Mars (Copied from Grace), in which goofy, sightless figures eruptfrom the side of a high-rise building, brandishing weapons and baring teeth.The painting plays to Dunham’s strengths: simplified forms and a starkcomposition that feels just right,” (K. Siegel, “Carroll Dunham,” ArtForum,February, 2002). Read More
Carroll Dunham Once I Land on Mars (Copied from Grace) 1999 Oil and graphite on linen. 102 x 76 in. (259.1 x 193 cm). Signed and dated “Carroll Dunham July-Aug. 1999” upper left; signed, titled and dated “’Once I Land on Mars (copied from Grace)’ 1999 Carroll Dunham” on the reverse of stretcher bar.
Provenance Metro Pictures, New York Exhibited New York, Metro Pictures, Carroll Dunham September 11-October 16, 1999; New York, New Museum, Carroll Dunham October 31, 2002-February 9, 2003 Literature K. Siegel, “Carroll Dunham – Brief Article”, Artforum, February, 2000; D. Cameron A.M. Homes, K. Kertess, L. Phillips, S. Schwartz, and M. Ritchie, Carroll Dunham Paintings, New York / Ostfildern-Ruit, 2002, p. 129 (illustrated) Catalogue Essay Drawing is the literal and figurative lifeline of Carroll Dunham’s art. For himimagining drawing and drawing imagination cannot be separated, nor canformal deliberation and spontaneous invention. More emphatically thanany of his generational peers Dunham renounced the bans imposed on thesubjective acts of the hand the artists Pop and Minimal in the 1960s. Withlyric vengeance he has reinstated the erotics of art.K. Kurtess, “Drawn into Consciousness,” Carroll Dunham Paintings,New York, 2003, p. 26Undercurrents of rude sexuality and unstable eroticism, masculinity,colorful violence, comic aggression and conspicuously bad taste have beenfibers in the tapestry of Carroll Dunham’s artwork from the very beginning;since the early 1980s these elements have seeped from the surfaces ofpaintings that marry the graphic qualities of Pop with the process-orientedapproach of conceptualism and wash over both with the impolitelustfulness of painterly gesture in a career-long conflation of abstract andfigurative styles. Despite lingering hints of the organic, wood-grain formsthat characterized his early abstract work, in more recent pieces such asOnce I Land On Mars (Copied from Grace), 1999, Dunham’s painting hastended toward a crisper, cleaner figuration, depicting violent, intenselyanimated dystopias in simple, childlike terms reminiscent of comicillustration. For Dunham, early childhood is not simply the breeding groundof our most primitive instincts, rather the visual language of thisdevelopmental period also constitutes a direct aesthetic influence:“Dunham explicitly refers to a drawing by his young daughter in... Once ILand On Mars (Copied from Grace), in which goofy, sightless figures eruptfrom the side of a high-rise building, brandishing weapons and baring teeth.The painting plays to Dunham’s strengths: simplified forms and a starkcomposition that feels just right,” (K. Siegel, “Carroll Dunham,” ArtForum,February, 2002). Read More
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.jpg "Source: Christie's")
