Carroll Dunham is weird. (It’s a good thing.) Weird is the most-used adjective in his new book of essays, Into Words, followed by perverse. To Dunham, a renowned painter and frequent essayist on art, these are credentials for interesting, indicating that you might crack the nut, push the envelope, make a break for it, or run the ball out onto the fields of the crazy. Takes one to know one: He guides you to his own end zone of painting with texts from 1994 through 2016, waxing eloquent, or sometimes cranky, about the work and contexts of twenty-five or so far-flung artists, living and dead,