Outside the art world, chances are you’ve never heard of Carroll Dunham. Before to last week, I certainly hadn’t. His post-minimalist-inspired, playful and often non-representational prints, sculptures and paintings have graced the halls of the MoMA and the Whitney, but, like many contemporary abstract artists, his name lacks recognition among the general public. 

Lecturing at the art building this past Tuesday as a part of the AMAM’s Ellen Johnson Visiting Artist Lecture Series, Dunham traced his development as an artist, speaking with a rare humility appropriate to his “under the radar” status.

“I wanted to make paintings in my late twenties as a way to channel my energy,” Dunham said, starting off his talk with a description of his creative beginnings.

“My decision was really philosophical,” he continued. “I had a couple of classes… but no formal training…. I had, to my knowledge, no talent whatsoever.”

This modesty, comical to anyone who has had the pleasure of viewing Dunham’s work, was reflected in Dunham’s discussion of his influences, aesthetic process and latest creations, all topics he explored as the lecture progressed.

He spoke about his decreasing “connection with abstraction;” his reaction to his first representational, figure-based paintings (“I was appalled!”) and the challenge of “[accepting] the history and limitations” of those who came before him.

“I was always and only interested in abstract art,” stated Dunham. “For young artists, it is this combination of accepting and then killing influence…[imitating] a kind of art that I sort of had a crush on.”

Today, after over 20 years of production, Dunham is decidedly independent in his work. He chooses to place his sculptures on tables, drawing attention to their status as “art” and declaring, “modern is not dead.” He forces himself “to come up with different compositions” in his paintings by experimenting with dramatic changes in scale and the absence of color and is now working on a series of tree-themed pieces.

These choices, discussed with the acknowledgment that “it seems almost embarrassing to try to explain my own art too much,” are visible in the Allen’s exhibit of Dunham’s works. Entitled “Carroll Dunham Prints: A Survey,” the show is up until March 23. Check it out in the Ripin Gallery to experience the subject of Dunham’s unfounded modesty firsthand.