After he graduated the School of Visual Arts in 1995, Barnaby Furnas
spent three years working for Carroll Dunham
, who would encourage the upstart painter to enroll in Columbia’s MFA program (where was an instructor). The move would prove fortuitous: Marianne Boesky encountered Furnas’s work at one of Columbia’s open studio events, and would go on to become his long-time gallerist.
At even a casual glance the connection between the two artists’ work, both full of grotesquely exaggerated figures in often-X-rated scenes, is apparent. As The Guardian once described, “both call into question a boys’ club of sex, violence, and global politics.”