A few months ago, while Marlene Dumas was preparing for her first major American museum exhibit, a midcareer retrospective that opens in June at the Museum of Contemporary Art, Los Angeles, she began worrying that she’d have no new works to show. Dumas, a South African–born, Amsterdam-based painter known for her confrontational images of human figures—blindfolded captives, naked pinups, deformed newborn babies—had been working on a large-scale portrait of her mother, who died last year, but decided it was too dramatic, too pompous. A new series depicting crying women wasn’t progressing well. Then, while Dumas was rummaging through an old file of media images—one of the dozens of cluttered notebooks and boxes with labels like war, couples and porn that make up her archive—out tumbled a yellowed newspaper clipping with a morgue photograph of Marilyn Monroe. The movie star is entirely unrecognizable, with matted hair and bruised, craggy skin. Dumas, inspired, took out a canvas and finished a new portrait of Monroe’s corpse within a few hours. The artist’s self-portrait Het Kwaad is Banaal ( Evil is Banal 1984, oil on canvas, 49 3/16″ x 41 5/16.” “ So this is sort of my Los Angeles painting, my American painting,” says Dumas in her studio, where Dead Marilyn (2008) is hanging on the wall. It’s a strikingly moody work in splotchy blue-gray, and the artist implies that it’s more about the subject of death itself—her mother’s, her own—than it is about deglamorizing a Hollywood legend or responding to Andy Warhol’s iconic portraits of Monroe. “ It’s not that I sat down and thought, Hmm, what should I do now for [ America]? I’ll be nasty,” Dumas says. She doesn’t seem concerned that the source photo may be a fake, and she’s pleased that the painting measures only 16 by 20 inches. “ The fact that it’s small and intimate is what is so important,” Dumas says. Visitors to the.
. Oil On Canvas. Art. Artists. Paintings. Pierre Bonnard. Francis Bacon. Peter Doig. Self Portraits. Lucian Freud. Joan Mitchell. Anselm Kiefer. Edvard Munch. Emil Nolde. Edouard Vuillard. Elizabeth Peyton. Henri Matisse. Jenny Saville. Drawings. Louise Bourgeois. Contemporary Art Related Boards Arts Plastiques exercices Artists/ Painters watercolour Portrait art Learn more at yellowbluebus.info yellowbluebus.info Marlene Dumas / Saw this in Istanbul recently - it's AMAZING in person. Artists Drawings, Art Paintings, Art Dumas, Marlenedumas Art, Art Ink, Faces Portraits, Marlene Dumas Paintings, Art Portraits Marlene Dumas art painting dumas Marlene Dumas art ink 158 Repins 9 Likes Sara Clarke Art Nerding Learn more at keepinitsketchy.tumblr.com keepinitsketchy.tumblr.com Marlene Dumas (b1953 Cape Town, South Africa; in 1976 relocated in Amsterdam) Mccarty Watercolor, Art Marlene Dumas, Art Drawings Paint, Marlene Dumas Paintings kim mccarty watercolor - Google Search 30 Repins 4 Likes Rom ANikki-2 • ᗩᖇ T ART ● AFRICA ● DUMAS, Marlene. Learn more at huffingtonpost.com huffingtonpost.com from The Huffington Post After Retirement, Esther Ritz Became A Full- Time Painter And Never Looked Back 2. Hang in a museum with my artwork. This is from Marlene Dumas Endometriosis Marlene, Dumas B1953, Dumasv Expressive, Marlene Dumasv, Dumas Wonderful, Dumas Strange, Marlene Dumas Paintings Dit beeld komt overeen met de stijl van Dumas er wordt dezelfde techniek gebruikt. De houding waarin de vrouw is afgebeeld geeft een kwetsbare houding een gevoel van schaamte. Door de armen wat zij om zich heen heeft geslagen, het voorovergebogen (ingekropen inzichzelf) het been wat zij over het andere houd, geeft een onzekere houding wat niet als prettig wordt ervaren. Ook dit beeld laat aan de verbeelding over je kunt hier zelf je eigen interpretatie of verhaal bij maken.
Ratcliffe-on- Soar Power Station, Nottinghamshire 1. There is something perturbing about the presence of enormous infrastructure in the midst of lush countryside. In a landscape befitting of a Thomas Gainsborough painting how odd and alien the power station is. Thomas Gainsborough, ‘ Landscape with Stream and Weir’, c. 1750. 2. My friend did not mention the existence of a power plant on the outskirts of the little village in which she lives. But, here it is, obscuring the skyline and spoiling the quintessential English idyll of rural Nottinghamshire. Nottinghamshire, June 2015 3. I am appalled and fascinated in equal measure by the uncompromising ugliness of this mammoth structure. The towers, like gigantic conical flasks, seem to have been plucked from another world or age entirely and deposited here on unassuming pastures. 4. The power station in question is Ratcliffe-on- Soar, a coal-fired plant located 8 miles south west of Nottingham. It was built in the 1960s and is one of the most productive stations in the UK. According to the operator’s website the station generates enough electricity to meet the needs of two million people. In its extreme efficiency, the station is hugely at odds with the seemingly slow pace of the nearby countryside where cows lazily graze and cheery barges are docked along the sleepy-still canal. 5. At home, in Ireland, we have all but one coal-burning power station in Moneypoint, Co. Clare and it is hardly a suitable counterpart for this colossal construction, both in terms of scale and output. Moneypoint power station, Co. Clare. 6. There is no excusing the power station – it is a highly problematic producer of energy – but it is difficult not to be stunned by the enormity of such a structure, particularly when it is so foreign to one’s native landscape. There is something resignedly un-contemporary about the coal-fired power station.
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