Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Dumas' hunting and gathering of pictures of all kinds is an almost entropic way to create visual knowledge, the end result being a painting. It is as if, aware of living in a time of extreme obfuscation, she is attempting to maintain vigilance as a citizen through a persistent sorting of media." Cornelia Butler, excerpted from Marlene Dumas: Measuring Your Own Grave, The Museum of Contemporary Art, Los Angeles.
Marlene Dumas was born in 1953 in Capetown, South Africa. After studying at the Michealis School of Fine Arts there, she relocated to the Netherlands, where she studied in Haarlem and Amsterdam. She has participated in numerous solo and group exhibitions, including at the Centre Georges Pompidou, Paris; the Hirshhorn Museum and Sculpture Garden, Washington, D.C.; the Tate Gallery, London; and the Museum fur Moderne Kunst, Frankfurt.
Published by D.A.P./Walther Konig, Koln. By Marlene Dumas. Edited by Mariska Van Den Berg.
From the beginning, language has played an important role in the work of Marlene Dumas. Her earliest collages make use of text, and she often writes poetical monikers or captions directly onto her drawings, such as "The Eyes of the Night Creatures" or "Miss Interpreted." Over the last 30 years, the artist has written texts ranging from aphorisms, statements and short poetic pieces to longer analytical essays. Her writing focuses on her own work, discussing its subject matter, its politics, background and source material, as well as its critical reception and her own cultural position as an artist. "I am always 'not from here,'" she writes in one text (a poem), "even though I try to know / or understand 'what's going on' and / what the rules are and how they / keep on changing and what that means. / When looking at images I'm not lost, / but I'm uneasy." Sweet Nothings, originally published in a long out-of-print (and rare) Dutch edition in 1998 and now revised and expanded, provides a selection of her best and most representative writings from 1982–2014. Marlene Dumas (born 1953) is a South African artist who works in a range of media including painting, collage and prints. She moved to Amsterdam for her studies in 1976 and continues to live and work there. She often strips her subjects of their original contexts, working with—while often transgressing and deconstructing—traditional Western modes of representation. She represented the Netherlands in 1995 at the 46th Venice Biennale, and has enjoyed numerous solo museum exhibitions and retrospectives devoted to her work around the world since then.
Published by David Zwirner Books. Text by Marlene Dumas.
Originally published in 2010 on the occasion of Dumas' first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted in 2014 to coincide with the artist's European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel traveling through 2015. Throughout her career, Dumas has created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in Against the Wall are primarily based on media imagery documenting Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed space of painting. "The Wall," the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall) in Jerusalem. However, this work is in fact based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel's Tomb in Bethlehem. Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. "In a sense they are my first landscape paintings," Dumas further notes in the catalogue, "or should I say 'territory paintings.' That is why they are so big." The somber color plates reproduced in the publication are given context by Dumas's own musings, a text framed as a letter to David Zwirner in which she tries to tell him "about the 'why'" of this powerful series.
Published by TATE/D.A.P.. Edited by Leontine Coelewij, Kerryn Greenberg, Helen Sainsbury, Theodora Vischer. Text by Leontine Coelewij, Colm Toibin. Interview by Theodora Vischer.
Marlene Dumas is one of the most prominent and influential painters working today. In an era dominated by the mass media and a proliferation of images, her work is a testament to the meaning and potency of painting. Dumas draws on her expansive visual archive and the nuances of language to create intense, psychologically charged works which explore themes such as sexuality, love, death and guilt, often referencing art history and current affairs. Her paintings and drawings are characterized by their extraordinary expressiveness and sometimes controversial subject matter. This fully illustrated exhibition catalogue accompanies a major exhibition at the Tate Modern, the Stedelijk Museum and the Fondation Beyeler. Surveying the artist's oeuvre from the mid-70s to the present, it features over 100 of her most important paintings and drawings alongside lesser-known works from the early period of her career. The Image as Burden also includes a new interview with the artist; extracts from previously published but lesser-known texts (some available in English for the first time); and a new short story from prize-winning author Colm Tóibín written in response to the paintings. Essays and texts from a wide range of contributors examine the key themes and motifs in her work and reflect on Dumas' entire career. Born in Cape Town, South Africa, in 1953, Marlene Dumas has lived in Amsterdam since 1976. Over the last three decades she has had numerous solo exhibitions throughout Europe and the U.S., including shows at The Institute of Contemporary Art, Boston; the Centre Georges Pompidou, Paris; The Museum of Contemporary Art, Los Angeles; and The Museum of Modern Art, New York.
Published by Silvana Editoriale. Edited by Giorgio Verzotti.
Marlene Dumas (born 1953) is one of the most highly regarded contemporary painters working today. Sorte attests to the artist’s ongoing interest in the dialectic between the physicality of the human body and the metaphysical themes that attend its demise. This book includes paintings from Dumas’ recent Forsaken series: her haunted, pale portraits of Amy Winehouse, her pearly and painterly crucifixions and a meditation on the relationship between father and son. The book’s 15 previously unexhibited works, however, are concerned instead with the figures of the mother and the child, inspired by images from the archives of an orphanage and portraits of Pier Paolo Pasolini and his mother Susanna. Also included is Dumas’ portrait of Italian film star Anna Magnani, caught in a film still from Mamma Roma, the bleached sheet of her face transforming her features into a femininized form of the crucifix.
Published by Richter Verlag. Text by Leon Krempel.
South African-born, Amsterdam-based painter Marlene Dumas (born 1953) focuses primarily on the human figure, often making explicit nods to the history of portraiture. In this monograph, she contextualizes her figurative work by placing it in a visual dialogue with paintings by sixteenth- and seventeenth-century Flemish and Dutch masters including Pieter Bruegel the Elder, Anthony van Dyck, Frans Hals, Rembrandt van Rijn, Peter Paul Rubens and Johannes Vermeer. This book concentrates on Dumas' "tronies"--that supremely Dutch genre of painting faces and heads to serve as model expositions of facial expressions and character types. These works on paper, which include the Black Drawings (1991-92) and Models (1994), explore facial structure and emotional expression in ways that resonate with and make overtures towards these earlier paintings and the continuum of art history.
The lyrically charged paintings of Marlene Dumas (born 1953) eulogize the frailties of the human body, probing themes of love, melancholy and confusion even as they slyly critique racial and gender prejudice. Dumas' particular gift is to freight the haunting handling of her imagery with a political and/or sexual edge. Famed internationally (especially since her Museum of Modern Art retrospective of 2008) after three decades of perfecting her vulnerable and poised style, Dumas continues to evolve these universal themes of love and loss. Her newest series, titled Against the Wall, is comprised of large-scale paintings that include scenes of mourning mothers at the Western Wall in Jerusalem (also known as the Wailing Wall). Published on the occasion of Dumas' exhibition at David Zwirner, Dumas' first at the gallery, only a few copies of Against the Wall are available, making it certain to quickly become a collector's item.
Published by D.A.P./Museum of Contemporary Art, Los Angeles. Edited by Lisa Gabrielle Mark. Text by Cornelia H. Butler, Richard Shiff, Matthew Monahan, Lisa Gabrielle Mark.
In her expressionistic drawings and paintings of the last three decades, acclaimed South African artist Marlene Dumas has focused on the human figure, probing themes of love, desire, despair and confusion in order to slyly critique social and political attitudes toward women, children, people of color and others who have historically been victimized. From her evocative portraits, based on photographs of friends and family as well as figures culled from printed pornography, to her large-scale images highlighting charged relationships within groups, Dumas' work explores the contradictions behind the physical reality of the body, merging acute social commentary with personal experience and art-historical antecedent to create unsettling and ambiguous psychological statements. Accompanying Dumas' first major mid-career survey in the U.S., with stops in three major American cities, (one yet to be announced) this substantial, fully-illustrated publication features a newly commissioned essay by renowned scholar Richard Shiff, placing the artist's work in relation to both American figurative painting since the 1980s and Abstract Expressionism. The book also includes curator Cornelia H. Butler's examination of Dumas' photographic sources and shorter texts by Lisa Gabrielle Mark and Matthew Monahan. Writings by the artist, as well as an extensive illustrated exhibition history and bibliography, complete this comprehensive examination of the work of one of the most thought-provoking artists working today. Born in Capetown, South Africa, in 1953, Marlene Dumas has lived in Amsterdam since 1976. Over the last three decades she has had numerous solo exhibitions throughout Europe and the U.S., including the Tate Gallery, London; the Institute of Contemporary Art, Boston; and the Centre Georges Pompidou, Paris. In 1995 she represented The Netherlands at the 46th Venice Biennale.
Published by Zwirner & Wirth. Essay by Marlene van Niekerk.
A blue-black topless woman stakes her claim on the Upper East Side. A stripper displays her behind next to six brides posing in a row. A dead man with a bound jaw asks the viewer to confront three blindfolded prisoners and three mysteriously somber children. The paintings and drawings collected here demonstrate Marlene Dumas's enduring fascination with image-making as a force for objectification, and simultaneously express her desire to pry the act of figurative painting loose from that history. Her lushly painted work recalls the immediacy of Expressionism in its gestures, the critical distance of Conceptual art in its idea-driven intensity, and the pleasures of eroticism in both its subjects and its lavishly applied paint. The complexity of Dumas's conceptual preoccupations is belied by her formal mastery--both command the viewer's attention, and the chemistry between them makes her one of our most important living figurative painters.
PUBLISHER ZWIRNER & WIRTH
BOOK FORMAT Hardcover, 7 x 10 in. / 94 pgs / 35 color.
PUBLISHING STATUS PUB DATE 8/15/2006 Out of print
DISTRIBUTION D.A.P. EXCLUSIVE CATALOG: FALL 2006 p. 117
PRODUCT DETAILS ISBN 9780970888488TRADE LIST PRICE: $35.00 CDN $40.00
AVAILABILITY Not available
STATUS: Out of print | 00/00/00
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Published by Hatje Cantz Publishers. Edited by Thomas Knubben and Tilman Osterwold. Essays by Jean-Christophe Ammann, Thomas Knubben and Marlene Dumas.
The oeuvre of Marlene Dumas is primarily characterized by her watercolors. Suggestive works, they appear to be based mostly on photographs from magazines which Dumas blurs, crops, or distorts. In doing so, the artist explores the sexualized dynamics between the picture, the painter, and the viewer. Her always openly sensual representations of human bodies and faces deal with some of the questions central to life. Wet Dreams features a broad selection of Dumas' loaded and expressive watercolors, expanding on the primary topics found throughout her work: the clichª picture of the female, the relations between the sexes, role playing, sexuality and pornography, guilt and violence, birth and death. Specially featured here are a number of collaborative works which the artist created with her daughter and with the painter Bert Boogaard.
Published by Hatje Cantz Publishers. Essay by Jessica Morgan. Foreword by Jill Medvedow.
South African artist Marlene Dumas has cultivated a unique position within the world of figurative painting since the early 1980s, focusing on how the human body is translated into an image. Dumas dose not use models, but instead takes her images from mass media and popular culture sources, particularly newspapers and television. According to Dumas, ''what interested me was to make a statement about peoples' frames of mind and the relationships between them.'' Dumas' pictures impress with their urgent realism--but within their provocative energy lurk provocative questions about gender, identity, oppression, sexual and ethnic violence, and the situation of women and minorities; Dumas is always seeking to initiate new thought processes and critical strategies. Featuring the series of drawings One Hundred Models and Endless Rejects, this book provides an overview of the last ten years of Dumas' brilliant and challenging work.