A conspiracy and a miscarriage of justice turn the gentle Edmond Dantaes into an implacable agent of fate. Obsessed by vengeance and empowered by providence, the Count avenges himself on those who have wronged him-- but is this justice, or is this hubris? In the end, does even the Count know?--Back cover.
Marlene Dumas has a remarkable affinity for language. From the very beginning it has played an important part in her work as a visual artist and, moreover, is frequently used as an autonomous vehicle of expression. She made use of her texts in her earliest collages and still occasionally writes short texts on her drawings given intriguing and revealing titles, such as „The Eyes of the Night Creatures“ or „Miss Interpreted“. Furthermore Dumas has written an impressive number of texts ranging from aphorisms and short poetic pieces to longer analytical texts. These focus on her own work, tackling such aspects as subject matter, background and sources, as well as its critical reception, and art and painting in general.
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.
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.
Marlene Dumas (born in 1953 in Capetown, South Africa) 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. Her intense, psychologically-charged works explores themes such as sexuality, love, death and guilt, often referencing art history and current affairs. Dumas often draws on her expansive visual archive for inspiration and uses the nuances of language to great effect. Her paintings and drawings are characterised by their extraordinary immediacy, expressiveness and sometimes controversial subject matter. This fully-illustrated exhibition catalogue accompanies a major exhibition at Tate Modern in 2015, curated by Tate, the Stendelijk Museum and the Fondation Beyeler in close collaboration with the artist. It will provide a survey of the artist's remarkable oeuvre from the mid-70s to the present day. It will include over 100 artworks displaying her most important paintings and drawings alongside lesser-known works from the early period of her career. Essays from a wide range of contributors will examine the key themes and motifs in her work and will reflect on Dumas' entire career.
Mijmeringen en gedichten over kunst van de Zuid-Afrikaanse, in Nederland wonende, kunstenares (1953- ) .
Marlene Dumas, an influential painter born in Cape Town and based in Amsterdam since 1976, delves into the complexities of identity and representation through her art. Her work, characterized by gestural and fluid styles, often features the human form and draws from a diverse archive of images, including art history, mass media, and personal photographs. Dumas skillfully reframes her subjects, examining the blurred lines between public and private identities, making her paintings both poignant and thought-provoking.
Die international renommierte Malerin Marlene Dumas hat für die Dresdner Annenkirche ein neues, großes Altarbild geschaffen. Es greift christliche Motive auf und setzt sich mit ihrer heilsgeschichtlichen Bedeutung auseinander. Dumas selbst stellt ihr großformatiges Bild von der Idee bis zur Ausführung in Text und zahlreichen Skizzen, Plan- und Werkfotos detailliert vor.
M+M begins with the patently romantic story of these two artists' first meeting-- one surprised the other by coming to her aid in conversation--and continues through a detailed scrapbook of their recent collaborations, from ideas to installation views. Highlights include handwritten notes, shown in white on glossy black, under such headings as "I never use the F word unless I'm swearing."
This catalogue presents an overview of all the works shown at Zeno X Gallery in Antwerp. Since 1993 Marlene Dumas has presented five solo exhibitions in the gallery, respectively titled Give the People What They Want, Time and Again, For Whom the Bell Tolls, Twice and Double Takes. The book includes texts by the artist to accompany her exhibitions as well as newspaper articles and archival photographs.
