René Danïels, Marlene Dumas, and Willem Oorebeek in group exhibition “Specific Colissions” at Marianne Boesky Gallery – New York City

January 26th, 2013 by

René Danïels, installation view in exhibition “Specific Collisions”, courtesy of Marianne Boesky Gallery

January 26 – February 23, 2013
Opening reception: Friday, January 25, 2013, 6-8pm

Marianne Boesky Gallery is pleased to present Specific Collisions, the second presentation by artist Melissa Gordon in an on-going series that addresses the construction of reading artworks within the frame of the exhibition format.  Taking its title from both Donald Judd’s Specific Objects and Mina Loy’s play, Collision, the exhibition considers artworks in their signifier roll: re-ordering a language of interaction between the containing architecture and the works as things, which are adjusted by the circumstance and moment of viewing. The exhibition includes work by among others René Danïels, Marlene Dumas, and Willem Oorebeek.

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Rineke Dijkstra and Marlene Dumas in collection exhibition at the Nasher Museum of Art at Duke University – Durham, NC

March 10th, 2011 by

Rineke Dijkstra, Born 1959 in Siitard, The Netherlands; lives and works in Amsterdam, Tamir, Golani Brigade, Orev Unit, Elyacim, Israel, May 26, 1999, 1999. C-print. Collection of the Nasher Museum of Art at Duke University. Gift of the Rubell Family Collection, Miami

March 10 – August 14, 2011

The Nasher Museum of Art at Duke University presents ‘Building The Contemporary Collection: Five Years Of Acquisitions,’ with work by a.o. Rineke Dijkstra and Marlene Dumas.

In its first five years, the Nasher Museum of Art at Duke University has focused on modern and contemporary art with particular emphasis on global, emerging artists of color. “Building the Contemporary Collection,” in celebration of the museum’s fifth anniversary, presents the most important contemporary works acquired since its founding in 2005. The exhibition features work by 42 artists, including Christian Boltanski, William Cordova, Noah Davis, Rineke Dijkstra, Marlene Dumas, David Hammons, Barkley L. Hendricks, Glenn Ligon, Christian Marclay, Zwelethu Mthethwa, Odili Donald Odita, Dan Perjovschi, Dario Robleto, David Salle, Carolee Schneemann, Gary Simmons, Xaviera Simmons, Jeff Sonhouse, Eve Sussman, Alma Thomas, Hank Willis Thomas, Mickalene Thomas, Bob Thompson, Kara Walker, Jeff Whetstone, Kehinde Wiley, Fred Wilson and Lynette Yiadom-Boakye, among others.

Marlene Dumas, Born 1953 in Cape Town;lives and works in Amsterdam, The Woman of Algiers, 2001. Oil on canvas. Partial and Promised Gift of Blake Byrne to the Nasher Museum of Art at Duke University

The exhibition reflects the museum’s interest in the art and culture of the African diaspora, and includes works in a variety of media-painting, drawing, photography, sculpture, video and installation. It is curated by Trevor Schoonmaker, Patsy R. and Raymond D. Nasher Curator of Contemporary Art.

Nasher Museum of Art at Duke University
2001 Campus Drive

Durham, NC 27705

Tel.: 919-684-5135

www.nasher.duke.edu

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Zeno X Gallery represents various Dutch artists at The Armory Show – New York City

March 2nd, 2011 by

Kees Goudzwaard, Model (For A Large Wall), 2010, courtesy Zeno X Gallery and the artist

March 3 – 6, 2011

Zeno X Gallery from Antwerp (B) represents: Michaël Borremans, Dirk Braeckman, Raoul De Keyser, Jan De Maesschalck, Stan Douglas, Marlene Dumas, Kees Goudzwaard, Noritoshi Hirakawa, Yun-Fei Ji, Kim Jones, Johannes Kahrs, Naoto Kawahara, John Körmeling, Mark Manders, Jockum Nordström, Jenny Scobel, Maria Serebriakova, Bart Stolle, Luc Tuymans, Patrick Van Caeckenbergh, Anne-Mie Van Kerckhoven, Jack Whitten, Cristof Yvoré.


Marlene Dumas, Moshekwa, 2006, courtesy Zeno X Gallery and the artist

Mark Manders, Composition with yellow Vertical, 2010, courtesy Zeno X Gallery and the artist

John Körmeling, Meeting Point, 2005, courtesy Zeno X Gallery and the artist

Zeno X Gallery at The Armory Show – Pier 94
Tel.: +32 (0)3-216-3888

www.zeno-x.com
www.thearmoryshow.com

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Marlene Dumas and Mark Manders in Selections from the Donna and Howard Stone Collection exhibition at Art Institute of Chicago – Chicago, IL

June 25th, 2010 by

June 25 – September 19, 2010

Nationally renowned for their acclaimed collection of contemporary art, Donna and Howard Stone are equally respected for their longstanding commitment to the city of Chicago and its arts community. The Stones view their passion for art and collecting as an important and treasured aspect of their partnership, and surely many Chicago institutions museums and universities especially have benefited greatly from their dedicated patronage. The Art Institute is thrilled to present the first public exhibition of works from their collection, featuring a number of important gifts to the museum, on view this summer in the Abbott Galleries and the eponymous Stone Film, Video, and New Media Gallery.

Putting together their collection over the past three decades, the Stones have built a rich, intergenerational assortment of art in all media. While there is a focus on the Minimalist and Conceptual schools of the 1960s and 1970s, including works by artists such as Sol LeWitt, Dan Flavin, Fred Sandback, and Richard Tuttle, there are also substantial works by younger artists, such as Gabriel Orozco, Mark Manders, Roni Horn, Robert Gober, Marlene Dumas, and Felix Gonzalez-Torres, deeply influenced by that previous generation. With consideration given to works produced in Chicago and beyond, the collection has grown into a truly international representation of contemporary art-making practices of the last 50 years.

The Art Institute of Chicago
111 South Michigan Avenue

Chicago 60603-6110

Tel: 312-443-3600

www.artic.edu

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2009 MoMA audience numbers in via Arts News Paper – New York City

April 7th, 2010 by

April 7, 2010

We just received The Arts News Paper, and were amazed by the following numbers for shows at MoMA last year:

Van Gogh and the Colours of the Night, September 21, 2008 – January 5, 2009: 436,343 visitors;

Marlene Dumas, December 14, 2008 – February 16, 2009: 266,821 visitors;

Aernout Mik, May 6 – July 27, 2009: 323,132 visitors;

In and Out of Amsterdam, July 19 – October 5, 2009: 261.869 visitors.

That totals close to 1,3 million visitors. Well done to MoMA! The exhibitions were fantastic, and we’re glad to see that many others came as well.

www.theartnewspaper.com

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Marlene Dumas solo exhibition at David Zwirner – New York City

March 18th, 2010 by

Marlene Dumas, The Wall (2009), courtesy the artist and David Zwirner, New York

March 18 – April 24, 2010

Press Release–David Zwirner is pleased to announce Against the Wall, the first solo exhibition by Marlene Dumas since the artist joined the gallery in 2008. The exhibition features new works from 2009 and 2010.

Known for her unique approach to canvas and her thought-provoking subject matter, Marlene Dumas is widely considered one of today’s most important painters. Her work is characterized by a sensual and gestural technique that is also swift, dry, and minimal, as if under pressure to leave only what is necessary. While she lives and works in The Netherlands, the artist was born and raised in South Africa, and her paintings have often drawn from her experiences of living with apartheid. For over thirty years, Dumas has merged political discourse, personal experience, and art historical references in a richly layered body of work. Her paintings integrate complex themes–ranging from segregation, eroticism, or, more generally, the politics of love and war–to explore how image-making is implicitly involved not only in the cultural processes of objectification, but also in the way in which events are documented and collectively understood.

Dumas’s practice is often based upon the translation of found imagery and explores the tension between the photographic documentation of reality and the constructed, imaginary space of painting. The works in this exhibition have evolved primarily from media imagery and newspaper clippings documenting Israel and Palestine. However, Dumas’s representations acknowledge universal themes of instability, isolation, and the lack of communication, while moreover addressing the medium of painting as such. The titles of these works (among them Under Construction; Mindblocks; The Wall) not only describe the motifs depicted, but also refer to the artist’s struggle with the boundaries of her chosen medium: as she herself has noted, “A painting needs a wall to object to.”

Marlene Dumas, Mindblocks (2009), courtesy the artist and David Zwirner, New York

Dumas’s paintings often display a kind of ambiguity of meaning, employing visual “traps” to show how the mind is quick to assume what is being presented in a given image. Her latest works explore the (in)famous walls of this unstable region of the Middle East. The large-scale canvas, The Wall, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in the Old City of Jerusalem. However, Dumas’s painting is in fact based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb. The men are shown against the backdrop of an Israeli security fence outside of Bethlehem.

This ambiguity is further examined in two related paintings, Wall Weeping and Wall Wailing. While the figures in the former canvas appear to have their arms raised, perhaps, in prayer, the latter painting reveals that they are raised to that armed soldiers can search their bodies. In the same manner, the concrete obstacles found at security checkpoints and roadblocks confront the viewer as conceptual Mindblocks in a canvas that fluidly merges abstraction and figuration.

Marlene Dumas, The Mother (2009), courtesy the artist and David Zwirner, New York

Child Waving
shows the vulnerability of youth, while presenting a state of tension in which innocent human gestures become suspicious and threatening. Living on your Knees depicts a kneeling figure whose pose remains undefined: is the man humbled in the act of prayer or subject to an act of humiliation? A woman mourns for her son in The Mother, yet the canvas makes the dead (shown in a framed portrait) seem more alive than the living. Man Watching shows a soldier with his back to us; but what is he watching?

In a sense, many of the works in the exhibition could almost be considered landscape or “territory paintings,” as Dumas has described them. She states in the catalogue that accompanies the exhibition, “For once it is not zoomed-in, vertical frontal heads and naked figures that take the main stage, but a man-made architectural structure in a more perspectival narrative space…It leads us not into a holy land, but rather to a barren no-man’s land.”
Marlene Dumas, Wall Weeping (2009), courtesy the artist and David Zwirner, New York

While the paintings in Against the Wall comprise a critique of what is sometimes referred to by opponents of the West Bank barrier as the “apartheid wall,” they ultimately lament the failure of co-existence and the tragic human condition of segregation. The stance taken by Dumas, however, is not one of overt oppositional criticism, but one that acknowledges the artist as an accomplice (among this body of work is a self-portrait titles The Sleep of Reason) and which implicates painting in the construction of collective memory.

The exhibition is accompanied by a fully illustrated catalogue, which includes a personal and poetic letter by Dumas. Her text also cites a wide range of political voices and writers, including Mahmoud Darwish, Rabbi Menachem Froman, Nelson Mandela, Shlomo Sand, Susan Sontag, and Desmond Tutu. Published by David Zwirner/Radius Books, Against the Wall is available in a first edition of 1,000 copies.

Marlene Dumas, Figure in a Landscape (2010), courtesy the artist and David Zwirner, New York

Born in Cape Town, South Africa in 1953, Marlene Dumas went to The Netherlands in the late 1970s, where she studied painting and psychology, and where she continues to live and work today.

She was recently the subject of a critically acclaimed retrospective, Measuring Your Own Grave, which featured over 100 paintings and works on paper and was the largest and most comprehensive examination if the artist ever presented in North America. This survey began at The Museum of Contemporary Art, Los Angeles, and traveled to The Museum of Modern Art, New York, and The Menil Collection, Houston, Texas (2008-2009). Also in 2008, the Iziko South African National Gallery, Cape Town, and the Standard Bank Gallery, Johannesburg, presented two consecutive shows of the artist’s work, making the first time Dumas had solo exhibitions in her homeland. Haus der Kunst, Munich, will have Marlene Dumas: Tronies on view from October 2010 to February 2011.

Dumas has been the subject of many one-person exhibitions at such institutions as the Museum of Contemporary Art, Tokyo (2007); Marugame Genichiro-Inokuma Museum of Contemporary Art, Marugame, Japan (2007-2008); The Art Institute of Chicago (2003); Fondazione Bevilacqua La Masa, Palazetto Tito, Venice (2003); De Pont Museum of Contemporary Art, Tilburg, The Netherlands (2002); Centre Georges Pompidou, Paris (2001); The Institute of Contemporary Art, Boston (2001); Museum fur Moderne Kunst, Frankfurt (1998); and Tate Gallery, London (1996). In 1995 she represented The Netherlands at the 46th Venice Biennale (together with Marijke van Warmerdam and Maria Roosen).

Her work is in the collections of major museums and public institutions, including The Museum of Modern Art, New York; Tate Gallery, London; Stedelijk Museum, Amsterdam; Centre Georges Pompidou, Paris; Museum fur Moderne Kunst, Frankfurt; Museum of Contemporary Art, Tokyo; Stedelijk Van Abbemuseum, Eindhoven; Haags Gemeentemuseum, The Hague; and Staatsgalerie Moderner Kunst, Munich.

David Zwirner
533 West 19th Street
New York, NY 10011
Tel.: 212-727-2070

www.davidzwirner.com

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Marlene Dumas in collection exhibition at The Institute of Contemporary Art – Boston, MA

July 29th, 2009 by

Marlene Dumas, Jule-die Vrou (1985), Courtesy ICA Boston

July 29, 2009 – July 18, 2010

Each year, since its debut in 2006, the ICA Collection is reinstalled to present new works and new themes. This fourth exhibition, In the Making, marks the Collection’s ongoing growth with a focus on artists’ process and materials in the making of their signature works. For the first time, separate galleries will be devoted to photography, sculpture, and painting. Each gallery invites an in-depth look at how artistic approaches to medium transform familiar subjects into resonant images and experiences.

Photographers such as Philip-Lorca diCorcia, Roe Ethridge, Noriko Furunishi, and Nan Goldin present a range of approaches, from raw and candid to highly conceptual and constructed, to expand notions of the medium.

Sculptures in the exhibition assemble unexpected fragments of our daily lives pins, Scotch tape, sugar cubes, oil, and charred wood into forms both familiar and surprising.

A focused look at South African-born, Amsterdam-based artist Marlene Dumas presents five of her powerful, emotionally raw paintings and drawings. The female figure, one of Dumas’ major subjects, is portrayed in a variety of scales, arrangements, and media as the artist updates this classic theme in the history of art.

The Institute of Contemporary Art
100 Northern Avenue
Boston, MA 02210
Tel.: 617-478-3100

www.icaboston.org

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