Marlene Dumas
Marlene Dumas' paintings blur the lines of race and identity. She is interested in the ambiguous divide between the public and private self. She also includes themes of sexuality, empowerment, and exploitation.
Formally she works from photographic imagery. The emotional, carnal quality of her images redefines the content of her sources. She uses oil paint on canvas in high contrasting colors or fluid watercolor on paper.
tagged:
- abstraction
- acrylic on canvas
- African American art
- Albert Oehlen
- alienation
- Allison Miller
- ambiguity
- Amy Cutler
- Amy Sillman
- analytical painting
- Anselm Kiefer
- architectural drawing
- art therapy
- banality
- Bernard Frize
- bright colors
- Cecily Brown
- challenges representation
- Chicago Imagists
- Chinese
- cityscapes
- collaborative works
- color
- conceptual art
- criticism of art
- Cy Twombly
- Damien Hirst
- Dana Schutz
- death
- depth perception
- destruction
- detachment
- discomfort
- distortion
- DIY
- Ellen Gallagher
- energetic compositions
- European Folk Art
- exploitation
- Fabian Marcaccio
- fashion
- favorite
- feminism
- figural
- first year art student
- flat color
- Francis Alys
- Fred Tomaselli
- gestural
- globalism
- gouache on paper
- Gregory Amenoff
- history
- humor
- Hung Liu
- impasto
- Indonesian
- Inka Essenhigh
- Janaina Tschape
- Jane Callister
- Japanese
- Jim Nutt
- John Currin
- Julie Mehretu
- Jumaldi Alfi
- Karin Davie
- kitsch
- landscapes
- large scale
- Lesley Vance
- line
- Lisa Yuskavage
- Lorraine Shemesh
- Luc Tuymans
- magazine collage
- manipulation
- Mark Tansey
- Marlene Dumas
- Merlin Carpenter
- metaphor
- miniature
- minimalism
- mixed media
- monochromatic
- Muslim
- naivity
- narrative paintings
- negatively received
- Neo Rauch
- Neopop
- New Symbolism
- New York City
- Nigel Cooke
- non-representational
- obsession
- obvious brushstrokes
- off the wall installations
- oil on canvas
- oil on linen
- Op art
- paradoxical
- Pat Steir
- performance
- photographs as source material
- photorealism
- physical transformation
- physicality
- Pia Fries
- place
- pleasure
- poetry as source material
- politics
- pop culture influence
- portraits
- process painting
- race
- reality
- reflections
- repetition
- reproduction
- Richard Estes
- romanticism
- Rosy Keyser
- sculptural
- self-made object as source material
- self-obliteration
- sexuality
- Shahzia Sikander
- shockingly bad
- skepticism
- Southern California
- still life
- sugar
- surrealism
- symbolism
- Tal R.
- technical precision
- Telestrations
- theatricality
- Tomory Dodge
- transcendence
- unusual paint application
- uses unusual materials
- visual music
- watercolor
- wet on wet
- Wilhelm Sasnal
- Will Cotton
- works quickly
- Yayoi Kusama
- Yoshitomo Nara
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2013
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November
(44)
- Pat Steir
- Jumaldi Alfi
- Allison Miller
- Shahzia Sikander
- Jim Nutt
- Cy Twombly
- Tomory Dodge
- Rosy Keyser
- Amy Cutler
- Richard Estes
- Hung Liu
- Nigel Cooke
- Lorraine Shemesh
- Mark Tansey
- Neo Rauch
- Tal R.
- Yoshitomo Nara
- Janaina Tschape
- Inka Essenhigh
- Lisa Yuskavage
- John Currin
- Will Cotton
- Cecily Brown
- Pia Fries
- Lesley Vance
- Amy Sillman
- Dana Schutz
- Albert Oehlen
- Julie Mehretu
- Bernard Frize
- Karin Davie
- Marlene Dumas
- Damien Hirst
- Fabian Marcaccio
- Gregory Amenoff
- Merlin Carpenter
- Jane Callister
- Fred Tomaselli
- Francis Alys
- Ellen Gallagher
- Yayoi Kusama
- Anselm Kiefer
- Wilhelm Sasnal
- Luc Tuymans
-
▼
November
(44)
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