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Marlene Dumas: myths & mortals
Alternatieve titel
- Myths and mortals
- Myths & mortals
Door
Uittreksel
"The latest from the renowned painter Marlene Dumas' new works respond more than ever to the uncertainty and sensuality of the painting process itself. Allowing the structure of the canvases and the materiality of the paint greater freedom to inform the development of her compositions, the artist has likened the creation of these works to the act of falling in love: an unpredictable and open-ended process that is as filled with awkwardness and anxiety as it is with bliss and discovery. 'Myths & Mortals' documents a selection of new paintings debuted in the spring of 2018 at David Zwirner, New York ranging from monumental nude figures to intimately scaled canvases that present details of bodily parts and facial features. Several nearly ten-foot-tall paintings focus on individual figures, including a number of male and female nudes and a seemingly solemn bride, whose expression is obscured behind a floor-length veil. Like the Greek gods and goddesses, the figures in these paintings are at once larger than life and overwhelmingly human. The smaller-scale paintings referred to by the artist as erotic landscapes present a variety of fragmentary images: eyes, lips, nipples, or lovers locked in a kiss. Evident across all of these works is the artist's uniquely sensitive treatment of the human form and her constantly evolving experimentation with color and texture"-- Publisher's website (viewed on June 25, 2019)
Inhoud
William Shakespeare's Venus and Adonis [excerpts] / introduced by Hafid Bouazza -- Myths & mortals / Marlene Dumas -- Open / Claire Messud -- List of works.
Medewerking van
Uitgever
Uitgave
New York: David Zwirner Books, [2019]
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Persoon
Onderwerp
Type
Taal
Classificatie
ISBN
- 9781941701997
- 194170199X
Annotaties / titel notitie's
Notities
- Includes excerpts of text in verse from William Shakespeare's Venus and Adonis.
- Published in conjunction with an exhibition held at David Zwirner from April 28-June 30, 2018 in New York.
- Includes essay Open by Claire Messud (pages 105-118).
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