dumas | Marlene Dumas (Contemporary Artists) | Dominic van den Boogerd, Barbara Bloom, ...

Marlene Dumas (Contemporary Artists) | Marlene Dumas (Contemporary Artists) | Dominic van den Boogerd, Barbara Bloom, ...

books:


	• Marlene Dumas (Contemporary Artists) Dominic van den Boogerd, Barbara Bloom, ... Phaidon Press, 1999 - 152 pages average customer review:based on 4 reviews view larger image
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A SURPRISE PACKAGE!

I had seen a self-portrait done by Marlene Dumas in an art book and it blew me away. I did not know who she was or her main specialty. I knew I had to see more of her body of work... I quickly found this Phaedon publication, crossed my fingers and ordered it. When it finally arrived...I poured over it. It is now a few months later and I am still pouring over it. I particularly like the interviews and personal input Helene has had into the publication ? this is her book and her philosophies ? she puts herself out there for you to see her and to "get inside her head". The layout is very contemporary which adds to the presentation of her imagery. The reproductions of her work are plentiful and I am impressed with the range of her work through her different "periods". The text is concise and confronting in its subject matter, ranging from her life in apartheid Africa to the freedom of Amsterdam. This book is a must for art students and art lovers alike. It holds the key to an modern artist and, as an art student, has inspired me. I am looking forward to seeing more publications about her current work. I definitely give this book 5 stars ? plus 5 stars for a major contemporary artist.

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dumas

Marlene Dumas is a fabulous contemporary artist, straight forward...no tricks, no formulas..like in the old days.

Its a beautiful book is excellent condition

Marlene Dumas (Contemporary Artists)

This book is one of my favourites. In Marlene Dumas, I found an artist that I totally relate to. I find her philosophy on her art practice refreshing and have enjoyed reading her own opinions. I am currently studying art at University, and she definitely is an artist that has gone against the mainstream of traditional drawing and painting techniques.

The layout of the book is easy to read, with many coloured pictures of her work.

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Great book

This is what I look for in an art book, many large good quality reproductions of the work with a minimum of pretentious text. Let me look at the images first and decide what I think about them, then I can go read what the artist or some critic/historian thinks, not the other way around, as far too many books do.

I like the fact that Dumas does what she feels at the time she does it, so there is a lot of variety in this book, it is not the same piece over and over again. She is not like a lot of artist, simply becoming clichés of themselves at the 1st signs of success, she continues to experiment and try different things, which she is criticized for, however, I think that criticism is short sited. There is something fresh, loose and free about her work that I admire. Granted I don't like her work as much as when I first viewed it a few years ago (reflecting my own development as an artist) but it is still one of my favorite books and I would recommend it to anyone interested in contemporary art.

My only critic comes from my own bias, in that I find some of her content overly simplified clichés of women's issues and feminist theory. .........And I'm annoyed by the fact that If I, as a male artist, created some of the images she's created, I'd be lynched by NOW(or some other WWB-Whiny Women's Brigade as I've coined them) as being a misogynist pig.

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Marlene Dumas, a South Africa-born, Amsterdam-based painter, is one of the world's most admired artists, a titan of contemporary painting. Her work recalls the painterly gestures of Expressionism while combining the critical distance of conceptual art with the pleasures of eroticism. Through her delicately painted oil-on-canvas or ink-and-watercolor depictions of the female form as well as portraits of children and erotic scenes, she makes a commentary on the state of painting today. What does it mean to be a woman working within the predominantly male genre of expressionist painting? The artist often depicts women: their expressions, their bodies, their facial typologies, their self-image, and their ideals.

The relationship between art and female beauty or between art-historical models an twentieth-century supermodels are constant themes in Dumas' work. She does note paint from life but deliberately chooses 'stock' images from a variety of sources, from magazine cuttings to picture postcards to Old Master paintings, as observed through her contemporary perspective. Since the late 1970s she has exhibited internationally, with solo exhibitions at the Tate Gallery, London (1996), the Museum fur Moderne Kunst, Frankfurt (1998), the Museum van Hedendaagse Kunst, Antwerp (1999), and Centre Pompidou, Paris (2002). Her work has been shown in some of the world's top international exhibitions, including the Venice Biennale (1995 and 2005), where she represented the Netherlands in 1995.

Barbara Bloom interviews Dumas, asking her many questions that pertain to issues facing contemporary women artists, ranging from the intellectual process to the representation of the self. Dominic van den Boogerd surveys themes in Dumas' work in relation to a range of conceptual legacies in depictions of the human figure. Mariuccia Casadio focuses on Dumas' painting Josephine (1997), reflecting on the iconic legacy of Josephine Baker. Finally, the update section by Jan Avgikos surveys Dumas' work from 1999 to the present.

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