Carroll Dunham Prints

Catalogue Raisonné, 1984-2006

Allison N. Kemmerer, Elizabeth C. DeRose, and Carroll Dunham

View Inside Price: $65.00


June 28, 2008
256 pages, 9 x 11 1/4
431 color illus.
ISBN: 9780300121650
Cloth

Published in association with the Addison Gallery of American Art, Phillips Academy, Andover, Massachusetts

Widely known for his vibrant paintings that employ a variety of styles––including abstraction, figuration, pop, and cartoon––Carroll Dunham (b. 1949) is also one of the most prolific printmakers of his generation. An integral part of his artistic process, Dunham’s prints combine the spontaneity and drama of his paintings with the careful premeditation demanded of the medium. His imagery––which shares the wickedly cartoony semi-abstractions of his paintings––is transformed, refined, and often intensified in his graphic work.

 

Carroll Dunham Prints documents the artist’s entire print archive––which includes nearly 300 lithographs, etchings, drypoints, linocuts, wood engravings, screenprints, digital prints, and most recently, monotypes––the majority of which have never before been published. The authors examine the significance of printmaking to Dunham’s overall oeuvre, his innate sensitivity toward the systematic materials and procedures of printmaking, his inventive approach to this process, and the evolution of his imagery. It also features an insightful essay by Dunham that discusses his journey as a printmaker and his discoveries of the medium.

 

Allison N. Kemmerer is Curator of Art after 1950 and of Photography at the Addison Gallery of American Art. Elizabeth C. DeRose is an independent scholar.


EXHIBITION SCHEDULE

Addison Gallery of American Art (May 9 – July 13, 2008)

"An impressive tome. . . . You will get cool and cogent explanations of the difference between screenprints and siligraphy, spitbites, and sugar lifts. . . . Everything about these works—the colors, the embossing, the dumb graphic simplicity of the style—is tacky, and I've no doubt Dunham wants it that way. It's kitsch, but knowing kitsch. And as such, it's hard not to like."—Sebastian Smee, Boston Globe