Marlene Dumas

donated by the artist

Some recent solo exhibitions
David Zwirner, New York 2010, 'Against the Wall'
Moca, Los Angeles / MoMa, New York / The Menil Collection, Houston 2008-9, 'Measuring Your Own Grave'
Stiftung Museum Kunst Palast, Dusseldorf 2008, 'Magnetic Fields'
Zeno X gallery, Antwerp 2008
The Standard Bank Gallery, Johannesburg 2007, 'Intimate Relations'
MOT Museum of Contemporary Art, Tokyo 2007, 'Broken White'

Some recent group exhibitions
Centre Georges Pompidou, Paris 2010
MMKA, Arnhem 2009
Tate Britain, London 2008
MoMA, New York 2005

Selected publications
Dominic van den Boogerd [et.al.], Marlene Dumas, Phaidon Press 2009
Cornelia H. Butler [et .al.], Marlene Dumas: measuring your own grave, Los Angeles: Museum of Contemporary Art 2008

Selected public and corporate collections
Stedelijk Museum Amsterdam, NL • MMKA, Arnhem, NL • Gemeentemuseum Den Haag, the Hague, NL • Stedelijk Van Abbemuseum, Eindhoven, NL • SMAK, Ghent, BE • Centre Georges Pompidou, Paris, FR • MAMCS, Strasbourg, FR • Migros Museum für Gegenwartskunst, Zurich, CH • Tate Britain, London, GB • MoMA, New York, US • ICA Boston, US • Abn Amro Kunststichting, NL • Ahold Kunst Stichting, NL • Akzo Nobel Art Foundation, NL • De Nederlandsche Bank, NL • Rabo Kunstcollectie, NL • TNT Post Kunstcollectie, NL

This work is in excellent condition. All corners and upper centre part with non disturbing pinholes (as can be seen on catalogue image). Unframed.
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The relation between art and female beauty, art and pornography, female models and models of art have been a constant theme for Marlene Dumas. Her work is charaterized by a sensual and gestural technique that is also swift, dry and minimal, as if under pressure to leave only what is necessary. Some of her images are derived from Polaroids or found imagery from newspapers and other type of magazines and explores the tension between the documentation of reality and the constructed imagianary space of a painting. Dumas merges themes of race, sexuality, and social identity with personal experience and art-historical antecedents to create a unique perspective on important and controversial issues. In Models (1994), a work consisting of a hundred drawings of portraits of a vast number of different women, one recognizes faces ranging from Rembrandts Bathsheba to Claudia Schiffer, from Vermeer's woman with pearls to Anita Ekberg in La dolce vita, from Simone de Beauvoir to Brigitte Bardot. But whether she uses images from high or low culture, or from anonymous acquaintances, the images are all familiar to us.

Marlene Dumas is a former advisor at the Rijksakademie and visiting now and then.