Self Portrait at Noon, 2008
3 August 1953 |
Cape Town, South Africa
|Education||Michaelis School of Fine Art, de Ateliers|
|Awards||Rolf Schock Prize in Visual Arts (2011)|
Marlene Dumas (born 3 August 1953) is a South African born artist and painter who lives and works in Amsterdam, the Netherlands. In the past Dumas produced paintings, collages, drawings, prints and installations. She now works mainly with oil on canvas and ink on paper.
In 1984, Dumas started painting heads and figures. A series of paintings she executed in the mid-1980s, titled "The Eyes of the Night Creatures", explores recurring themes in the artist's oeuvre, including racial and ethical intolerance. The White Disease (1985) is a painting of an ageing South African woman with pale blue eyes taken from a medical photograph. The painting projects the disease of apartheid and Dumas acknowledges it as one of her favourites. Christie's auction lot notes observes that the painting recalls the influence of predecessors such as Egon Schiele and Leon Golub. Translucent white paint creates a ghostly shade, alluding to the subject's illness, while water-saturated colors gives the portrait an unreal transparency, suggesting the fugitive nature of life. The shape of the nose is replaced by a simple blob of pink color, symbolising a loss of humanity and the subject's indifference to her state.
In the late 1980s and early 1990s, Dumas produced a series of works based around the subject of pregnancy and babies. Between 1998 through 2000, in collaboration with the photographer Anton Corbijn, she worked on a project called "Stripping Girls", which took the strip clubs and peep shows of Amsterdam as their subject; while Corbijn exhibited photographs in the show, Dumas took Polaroids which she then used as sources for her pictures.
She has said that her works are better appreciated as originals, to mirror the at times shocking, discomforting intimacy she captures with her works.
For Manifesta 10 in St Petersburg, Dumas created Great Men, a series of 16 ink and pencil portraits that depict famous gay men, including James Baldwin, Leonard Matlovich, Rudolf Nureyev, Vaslav Nijinsky, Pyotr Ilyich Tchaikovsky, Alan Turing, Oscar Wilde and Tennessee Williams. Each of the men depicted was persecuted, in one way or another, because they were suspected of being gay. According to Dumas, the series is to "contribute to a mentality change" in Russia at a time of increasingly anti-gay legislation in the country.
Dumas is committed to teaching. In a 2007 interview she said, "I see teaching as a very important thing, and not only because I teach [the students] things, but also because we have a dialogue, and you see what you really want. You find things out. I still believe in the Socratic dialogue. Art is really something that you learn from being around people".
Dumas's first all-painting show was held in 1985, at the Galerie Paul Andriesse in Amsterdam, and it brought together nine portraits. In 1995 she represented the Netherlands in the 46th Venice Biennale (together with Marijke van Warmerdam and Maria Roosen). Dumas's first solo museum exhibition, "Marlene Dumas: Name No Names," opened at the New Museum in 2002. A major American museum exhibition and midcareer retrospective entitled "Measuring Your Own Grave", opened in June 2008 at the Museum of Contemporary Art, Los Angeles, and moved to the Museum of Modern Art in New York City and the Menil Collection in Houston. Also in 2008, the South African National Gallery, Cape Town, and the Standard Bank Gallery, Johannesburg, presented two consecutive shows of the artist’s work, marking the first time Dumas had solo exhibitions in her homeland. The Haus der Kunst, Munich, showed "Marlene Dumas: Tronies" in 2011. The Stedelijk Museum, the Tate Modern, and the Beyeler Foundation are organizing a major retrospective of her work, from the 1970s to the present (including new work), set to debut in Amsterdam in September 2014 and due at the Tate 5 February - 10 May 2015.
Work by the artist is held in the public collections of various museums, including Rijksmuseum, Amsterdam, the ARKEN Museum for Moderne Kunst, Copenhagen; Art Institute of Chicago, Chicago; Bawag Foundation, Vienna; Bonnefantenmuseum, Maastricht; Carnegie Museum of Art, Pittsburgh; Centraal Museum, Utrecht; Centre Pompidou, Paris; Centro de Artes Visuales Helga de Alvear, Caceres; Dallas Museum of Art, Dallas; De Ateliers, Amsterdam, The Netherlands; The Flemish Ministry of Culture, Brussels; Fonds Regional d’Art Contemporain Picardie, Amiens; Gemeentemuseum, Arnhem, The Netherlands; Gemeentemuseum Den Haag, The Hague; Institute of Contemporary Art, Boston; South African National Gallery, Cape Town; Johannesburg Art Gallery, Johannesburg; Joods Historisch Museum, Amsterdam; Kasteel Wijlre / Hedge House, Wijlre, The Netherlands; Krannert Art Museum and Kinhead Pavilion, Champaign, Illinois; Kunsthalle zu Kiel der Christian-Albrechts-Universität, Kiel, Denmark; Lieve Van Gorp Foundation for Women Artists, Antwerp, Belgium; Los Angeles County Museum of Art, Los Angeles; Museum De Pont, Tilburg, The Netherlands; Museum für Moderne Kunst, Frankfurt; Museum het Domein, Sittard, The Netherlands; Museum of Contemporary Art, Los Angeles; Museum of Contemporary Art, Tokyo; The Museum of Modern Art, New York; Museum van Hedendaagse Kunst Antwerpen, Antwerp, Belgium; Museum voor Moderne Kunst, Arnhem, The Netherlands; Strasbourg Museum of Modern and Contemporary Art; Nasher Museum of Art, Durham; Paleis Vught, Vught, The Netherlands; Saatchi Gallery, London; Scheringa Museum voor Realisme, Spanbroek, The Netherlands; Stadsgalerij Heerlen, Heerlen, The Netherlands; Van Abbemuseum, Eindhoven; Stedelijk Museum, Amsterdam; Stedelijk Museum, Gouda, The Netherlands; Museum De Lakenhal, Leiden, The Netherlands; Stedelijk Museum Schiedam, Schiedam, The Netherlands; Stedelijk Museum voor Actuele Kunst, Ghent, Belgium; Tropenmuseum, Amsterdam; Tate Modern, London, England; and ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe.
By 2002, the record for Dumas's paintings, only a few of which had come to auction, stood at about $50,000. Jule, die Vrou (Jule, the Woman), a 1985 close-up of a transvestite's face, was auctioned at Christie's for $1.24 million in 2004. In 2005 at Christie's in London, The Teacher (Sub a) (1987), a rendering of a posed class photograph, was sold for $3.34 million. In 2008, The Visitor (1995) sold for £3.1 million at Sotheby's in 2008, making Dumas the most expensive living female artist at the time. However, most of Dumas’s works are sold to institutions. Her portrait of the late Amy Winehouse, Amy-Blue (2011), was acquired by London’s National Portrait Gallery for just £95,000 ($150,000) in November 2012.
- Marlene Dumas Tate.
- Deborah Solomon (15 June 2008), Figuring Marlene Dumas New York Times.
- "Marlene Dumas Pushes 'Grave' Limits". npr.org. NPR. 20 June 2008. Archived from the original on 10 March 2015.
- Searle, Adrian. "Rapture and rejects: the beautiful, flawed world of Marlene Dumas". theguardian.com. The Guardian.
- "Sale 2440 Lot 30". christies.com. Christie's.
- Marlene Dumas, The Dance (1992) Christie's, 11 May 2004, New York.
- Marlene Dumas, Feathered Stola (2000) Christie's Post War and Contemporary Evening Sale, 9 May 2006, New York.
- Javier Pes (20 June 2014), Manifesta: a hard act to pull off The Art Newspaper.
- Nina Siegal (18 June 2014), Art Shapes a Civil Rights Debate in Russia New York Times.
- Ayers, Robert. "Marlene Dumas". blouinartinfo.com. Louise Blouin Media.
- "Figuring Marlene Dumas". New Museum archive.
- Marlene Dumas: Against the Wall, 18 March – 24 April 2010 David Zwirner, New York.
- "Marlene Dumas - The Image as Burden". Tate Modern.
- Carol Kino (27 March 2005), Marlene Dumas's Number Comes Up New York Times.
- Ariella Budick (27 December 2008), Reappraising Marlene Dumas’ career Financial Times.
- "Amy Winehouse portrait bought by National Portrait Gallery". The Art Fund.
- Randy Kennedy (21 May 2010), Collector’s Motion for Court Order Against Gallery Is Denied New York Times.
- Selma Klein Essink, Marcel Vos and Jan Debbaut, Miss Interpreted, exhibition catalogue, Van Abbemuseum, Eindhoven 1992
- Jonathan Hutchinson, Chlorosis, exhibition catalogue, The Dougles Hyde Gallery, Dublin 1994
- Catherine Kinley, Marlene Dumas, exhibition broadsheet, Tate Gallery, London 1996
- Gianni Romano, Suspect, Skira, Milan, 2003
- Cornelia Butler, Marlene Dumas: painter as witness, Museum of Contemporary Art, Los Angeles, 2008
- Ilaria Bonacossa, Dominic van den Boogerd, Barbara Bloom and Mariuccia Casadio, Marlene Dumas, Phaidon Press, London, 2009
- Marlene Dumas' website
- Marlene Dumas at David Zwirner
- Marlene Dumas: New Museum archive
-  "Figuring Marlene Dumas," profile by Deborah Solomon in The New York Times Magazine,15 July 2008
- Dutch Master interview in W magazine
- Marlene Dumas: Measuring Your Own Grave Brief description of the artist's exhibition at the Museum of Contemporary Art in Los Angeles
- Zeno X Gallery - Marlene Dumas images, biography and CV
- The Saatchi Gallery - Marlene Dumas