Carroll Dunham

Sources: Museum of Modern Art, MoMA: Ship, MoMA: Untitled (1985), MoMA: Untitled (2003), MoMA: Age of Rectangles, Whitney: Pine Gap, Carroll Dunham: Paintings 2000–2009, and MoMA: Dunham wood engraving.

• 

  Urethane paint

  MoMA records urethane paint in Ship and in an untitled 2003 work on paper. The museum names urethane separately from synthetic polymer paint, so the materials should not be collapsed into a generic modern coating. These records document Dunham’s use of urethane in both a constructed painted object and a work on paper.

• 

  Casein paint

  MoMA lists casein in an untitled 1985 work on wood and in Age of Rectangles. The records show casein used in paintings with different materials and supports, including synthetic polymer and casein emulsion. It is a distinct named medium within Dunham’s varied paint practice.

• 

  Emulsion paint

  MoMA identifies casein emulsion in Age of Rectangles, alongside casein and vinyl paint. The catalog names the emulsion as a specific material in this three-panel work. That combination should be distinguished from Dunham’s urethane and synthetic polymer paintings, which appear in separate collection records.

• 

  Vinyl paint

  MoMA records vinyl paint in Age of Rectangles, together with casein and casein emulsion. This specific combination documents vinyl as one material in a multi-paint work rather than a substitute label for all synthetic coatings in Dunham’s practice. The collection entry distinguishes it from urethane and synthetic polymer.

Sources: MoMA: Ship, Whitney: Pine Gap.; MoMA: Untitled (1985), casein and emulsion; MoMA: Age of Rectangles, casein, vinyl paint, and casein emulsion; MoMA: Untitled (2003), urethane paint

• 

  Linen

  MoMA documents Dunham’s paintings on linen, where the woven textile remains visible beneath dense painted passages. This support is distinct from the canvas recorded for other works and from wood or wood veneer panels. Collection records establish linen as one of several materials in his varied painting practice.

• 

  Canvas

  Dunham’s works in MoMA’s collection include paintings on canvas as well as on linen and wood. The canvas supports compositions built from densely painted forms and color. These records document canvas as a separate textile support, rather than grouping all fabric-based surfaces under one label.

• 

  Wood

  MoMA records Dunham’s painted works on wood and wood veneer, including panels that preserve the material distinction in the catalog. These rigid supports differ from the linen and canvas used for other paintings. The examples show wood as part of his practice across several periods.

• 

  Wood Veneer

  Dunham’s use of wood veneer is documented in MoMA collection records for selected painted panels. The thin wood facing is a distinct support material from solid wood, linen, or canvas. Museum records support its inclusion as a specific surface in his practice, rather than as a generic panel.

• 

  Paper

  MoMA documents Dunham’s works on paper, including drawings and painted studies. The sheets are distinct from his finished works on canvas, linen, and wood supports, and some records identify additional materials such as urethane. This entry covers the directly recorded paper works without assuming one medium across them.

Sources: Museum of Modern Art, MoMA: Ship, MoMA: Untitled (1985), MoMA: Untitled (2003), MoMA: Age of Rectangles.