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Jose 4 Jeremy Scott 
There's no sugarcoating here in Dumas' representation of Marilyn Monroe's autopsy photograph in Dead Marilyn (2008). She leaves the celebrated starlet absent of all her beauty and glamour, capsulizing her as a chilly portrait of the dead.
This portrait, Jule-die Vrou, is based off one of Marlene Dumas' personal Polaroids.
It's drenched in female seduction, and emphasizes her friend's sexuality through the focused treatment on the eyes, lips, and finger, voided of the color red.
Suspect (1999) is another example of Dumas' explorations in the portrayal of a female nude.
Often looking at the opposite ends of the life cycle, in The Cover-Up (1994) Dumas questions the typical notions associated with youth and innocence through a conscious covering of the baby's head and lurid color palette.
Miss January, 1997.
Anonymous, 2005.
Get Measuring your own grave here!
Marlene Dumas Measures Her Own Grave
Marlene Dumas, paintbrush in hand, places a mirror at reality with her graphic and dreamy figurative paintings. Through classic portraiture, Dumas takes apart controversial subjects of death, sexuality, religious iconography, identity, and war, and explores the human figure and the psychological complexities of each. The artist's beautifully provocative oeuvre draws from a rotating list of tragic characters: the blindfolded men, erotic female archetypes, corrupted youth, and dead figures, all constructed from a mixture of personal snapshots and collected photographs.
You can enter the artist’s emotionally perturbed world in the pages of Measuring Your Own Grave, her mid-career monologue, which was made to complement her 2008 MOCA Museum retrospective of the same name. The monologue is thematically organized by the context of Dumas' varied subjects, and showcases significant works, her artistic process, and texts by Cornelia Butler, Lisa Gabrielle Mark, Matthew Monahan, Richard Schiff, and Marlene Dumas herself.
Check out some of my favorite pieces, and Marlene's poem which prefaces the book.
Get Marlene's book here.
Measuring your own grave
I am the woman who does not know
where she wants to be buried anymore.
When I was small, I wanted a big angel on my grave
with wings like in a Caravaggio painting,
Later I found that too pompous.
So I thought I'd rather have a cross.
Then I thought--a tree.
I am the woman who does not know
if I want to be buried anymore.
If no one goes to graveyards anymore
if you won't visit me there no more
I might as well have my ashes in a jam jar
and be more mobile.
But let's get back to my exhibition here.
I've been told that people want to know,
why such a somber title for a show?
Is it about artists and their mid-life careers,
or is it about women's after-50 fears?
No, let me make this clear:
It's the best definition I can find
for what an artist does when making art
and how a figure in a painting makes its mark.
For the type of portraitist like me
this is as wise as I can see.
-- M.D., 2008
FILED UNDER: marlene dumas , books , art , photography
You can enter the artist’s emotionally perturbed world in the pages of Measuring Your Own Grave, her mid-career monologue, which was made to complement her 2008 MOCA Museum retrospective of the same name. The monologue is thematically organized by the context of Dumas' varied subjects, and showcases significant works, her artistic process, and texts by Cornelia Butler, Lisa Gabrielle Mark, Matthew Monahan, Richard Schiff, and Marlene Dumas herself.
Check out some of my favorite pieces, and Marlene's poem which prefaces the book.
Get Marlene's book here.
Measuring your own grave
I am the woman who does not know
where she wants to be buried anymore.
When I was small, I wanted a big angel on my grave
with wings like in a Caravaggio painting,
Later I found that too pompous.
So I thought I'd rather have a cross.
Then I thought--a tree.
I am the woman who does not know
if I want to be buried anymore.
If no one goes to graveyards anymore
if you won't visit me there no more
I might as well have my ashes in a jam jar
and be more mobile.
But let's get back to my exhibition here.
I've been told that people want to know,
why such a somber title for a show?
Is it about artists and their mid-life careers,
or is it about women's after-50 fears?
No, let me make this clear:
It's the best definition I can find
for what an artist does when making art
and how a figure in a painting makes its mark.
For the type of portraitist like me
this is as wise as I can see.
-- M.D., 2008
FILED UNDER: marlene dumas , books , art , photography
