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    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
  •  Installation Shots From: Pangaea: New Art From Africa And Latin America
    Pangaea: New Art From Africa And Latin America
Saatchi Art
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Current Exhibition

EXHIBITED AT THE SAATCHI GALLERY

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Marlene Dumas
Young Boys

1993

Oil on Canvas

100 x 300cm
In Young Boys, Marlene Dumas’s line-up of ghostly lads is stark and oppressed against the ominous background, trailing off in the distance into mere sketchy traces of suggestion. It’s this suggestion that Dumas does best: a void of colour, a bleeding line, she creates a subtle, unnerving, perversity from an unabashed simplicity. This is painting with no frills: full on, with nowhere to hide.
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Marlene Dumas
Young Boys

1993

Oil on canvas

100 x 300 cm
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Marlene Dumas
The Cover-up

1994  

Oil on canvas

198 x 99 cm
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Marlene Dumas
Die Baba [The Baby]   

1985

Oil on canvas

130 x 110 cm
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Marlene Dumas
Jule - die Vrou [Jule - the Woman]   

1985

Oil on canvas

125 x 105 cm
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Marlene Dumas
Feathered Stola  

2000  

Oil on canvas

100 x 56 cm
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Marlene Dumas
Marlene Dumas - Installation Shot





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Marlene Dumas
Passion

1994

Gouache and ink on paper

61 x 49 cm
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Marlene Dumas
The Cover Up

1994

Oil on Canvas

198 x 99cm
In The Cover-Up, Marlene Dumas presents a corruption of innocence. Her portrayal of a young child with its clothes lifted over its head immediately gives way to dark thoughts of sexuality and exploitation. The controversy isn’t in the images Marlene Dumas paints, but in the way they’re subverted by an implied knowingness, a blatant confrontation with a natural reality and its discomforts.
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Marlene Dumas
Jule-die Vrou

1985



125 x 105cm
Jule-die Vrou is a disembodied portrait painting framed in extreme close-up; only the model’s eyes and lips are fully rendered attributes of seduction and sexuality. The rest of the painting is obliterated by a corpulent fleshy pink, suggestive of femininity, sin, violence and womanhood. The contrast between representation, and abstraction suggests a psychological disparity, where morality, representation, and social convention are questioned.

‘I don’t have any conception of how big an average head is, I’ve never been interested in anatomy. In that respect I relate like children do. What is experienced as most important is seen as the biggest, irrespective of actual or factual size. In the movies everything is larger than life and yet you experience that as real(istic); all my faces are much bigger than human scale. From blowing up to zooming in, for me the “close-up” was a way of getting rid of irrelevant background information and by making the facial elements so big, it increased the sense of abstraction concerning the picture frame. The elimination of the background also did away with the place of being and environmental context.’

‘As the isolation of a recognisable figure increases and the narrative character decreases (contrary to what one might initially assume that this lack of illustrative information would bring about), the interpretative effects are inflamed. The titles re-direct the work, however, they do not eradicate the inherent ambiguity. One cannot interpret the painting of Jule-die Vrou without entangling some of the root metaphors applied not only to the female, but to the idea of portrayal in general’. Marlene Dumas, 1992.
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Marlene Dumas
Die Baba

1985

Oil on Canvas on Linen

130 x 110cm
Bathed in sickly blue-yellow light, Marlene Dumas’s baby is almost repellent. Instead of an instant love affair, Dumas paints an alien encounter, the unnerving presence of an ‘other’, the realisation of an individual with a will and determination of his own. Marlene Dumas confronts the reality of motherhood, with all its natural and terrifying implications.
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Marlene Dumas
Feather Stola

2000



100 x 56cm
In Feather Stola, Dumas recalls the painterly gestures of expressionism, while combining the critical distance of conceptual art with the pleasures of eroticism. The relationship between art and female beauty - or between art-historical models and twentieth-century supermodels - are constant themes in her work.

ARTICLES

Marlene Dumas: At Helsinki Festival

Kunsthalle Helsinki Helsinki, FI Finland

During the Helsinki Festival, Kunsthalle Helsinki will offer a unique opportunity to see works by one of the hottest names in contemporary art, Marlene Dumas. The show presents an exceptionally broad retrospective of the artist's production from the 1970s up to the present. Born in South Africa in 1953, Dumas lives and works in the Netherlands. She is known for her masterful watercolours and subtle portraits. Her work enjoys an established status in major art museums and galleries and fetch unprecedented prices at auctions. Dumas' work is currently on exhibit at the main venue of the Venice Biennial. Exhibitions of her work have been relatively rare in the Nordic countries, and the present show is the largest of its kind here.

Marlene Dumas' paintings are a profound exploration of the human condition, of sexuality, birth and death, as well as psychological and philosophical themes. The show in Helsinki will include Female, a series of 211 female portraits that examines the representations of femininity, the gaze and the process of depiction and interpretation. "I don't admire only one type of woman - I love many types of women. But it's also not only about reaching to interpreting images of women, it's also about the joy of creating beings that do not exist in real life. It's more about the pleasure, but will always stay unknown," says Dumas.

Read the entire article
Source: http://www.absolutearts.com



Beyond possession: Marlene Dumas and the mobilization of subject, paint and meaning.
MARY-ROSE HENDRIKSE

Now living in Amsterdam, Marlene Dumas was born in Cape Town and graduated from the University of Cape Town with a Bachelor of Fine Arts in 1975. She studied psychology in Holland for two years (1979--1980). Since then she has had numerous exhibitions and her reputation has steadily grown. She has participated in high profile exhibitions such as Documenta 7 and 9 (in 1982 and 1992), the Bienal Sao Paulo in 1985, and the 1995 Johannesburg and Venice Biennales. Her work is represented in the South African National Gallery by a series of portraits called The Next Generation. In 1999 a major touring exhibition of her work was launched at the Museum of Hedendaagse Kunst, Antwerp.

Notwithstanding the call for a pluralist, inclusive approach to artmaking, the 'possibilities' of painting continue to be marginalized. Installation art and photography have dominated the art establishment in recent years, as though these provide the only viable methods of interrogating the relationship between representation and reality. It seems that painting has yet to shake off its association with contested modernist notions, such as idealism, positivism, universality, essentialism, and the related notions of catharsis and empathy with which modernism naively explained the production and reception of art. It is more than a decade since Thierry de Duve called on painters to address 'the idea of (painting's) rebirth as language' (1986:17) -- a difficult task given the burden of its history, particularly as regards oil painting. For the medium has traditionally incorporated so well the analogy between possessing and a way of seeing that it may seem suitable for nothing but image commodification (Berger 1972:88). Moreover, As Norman Bryson put it, painting's theorization in terms of 'its own propaganda as the re-presentation of perception' has led to its 'unthinkability as sign'1 (1983:130).

Read the entire article
Source: http://www.unisa.ac.za