This new gorgeous and diverse collection documents the exhibition 00 at the Barbara Gladstone Gallery in New York. For this exhibition, over one hundred prominent contemporary artists were asked to submit works on paper that were made this year--in '00'. 00 investigates the act of drawing as a vital necessity that transcends the bounds of age, nationality, scale, content, process, and concept. The richness of the medium is reflected by the diversity of the participating artists, who include: Acconci Studio, Kai Althoff, John Baldessari, Miroslaw Balka, Matthew Barney, John Bock, Louise Bourgeois, Cecily Brown, Vija Celmins, Francesco Clemente, Michael Craig-Martin, John Currin, Roy Dowell, Marlene Dumas, Carroll Dunham, Rachel Feinstein, Tim Gardner, April Gornik, Arturo Herrera, Gary Hume, Sol LeWitt, Anish Kapoor, Ellsworth Kelly, Yayoi Kusama, Mark Manders, Brice Marden, Chris Ofili, Elizabeth Peyton, Elle Phelan, Lari Pittman, Richard Prince, Charles Ray, Gregor Schneider, Richard Serra, Serse, Takashi Murakami, Rirkrit Tiravanija, Rosemarie Trockel, Kara Walker, Lawrence Weiner, and Christopher Wool. The resulting exhibition and its accompanying catalogue--including an illuminating essay by the curator and writer Klaus Kertess--act as a definitive survey of the practice of drawing at the present moment.

00: Drawings 2000 At Barbara Gladstone Gallery

Arts & Photography

Baldessari, John

Clemente, Francesco

Dunham, Carroll

Dumas, Marlene

Murakami, Takashi

Craig-Martin, Michael

BARNEY, Matthew

Ofili, Chris

Currin, John

Pittman, Lari

Kertess,klaus

Feinstein, Rachel

Bourgeois, Louise

Althoff, Kai

Celmins, Vija

Acconci Studio

Balka, Miroslaw

Brown, Cecily

Dowell, Roy

Gornik, April

Phelan, Ellen

Serse

Bock, John

Gardner, Tim

Collections, Catalogs & Exhibitions

Barbara Gladstone Gallery

At once comic, tragic, and erotic, Venus &amp; Adonis (1593) is a poem by William Shakespeare based on passages from Ovid’s Metamorphoses. This new translation by Hafid Bouazza of Shakespeare’s text is illustrated by Marlene Dumas, the renowned painter celebrated around the world for her highly charged depictions of the human form. Through a series of expressive ink washes, Dumas paints new passion into the poem—bodies bleed into one another, lips part in sighs of passion, a flower blooms to life. Desire in all its heady intensity is evocatively washed over the pages. As with Dumas’s wider body of work, however, tragedy is not forgotten and is frighteningly played out with equal intensity. The owl, “night’s herald,” as Shakespeare writes, flies jet black across the sky; a wild boar looms like a shadow over Adonis’s suffering, wounded body; black dissolves into gray; and bodies are lost in a sea of ink. The poem tells the story of Venus, the goddess of love, and her attempts to seduce the hunter Adonis. It is a complex, kaleidoscopic work in which love takes center stage—Venus’s lustful yearning for Adonis ripples throughout, each stanza and line tinged with unrequited longing. As Venus declares, “Graze on my lips, and if those hills be dry, / Stray lower, where the pleasant fountains lie.” Like Shakespeare before her, Dumas opens up a seemingly unending flow between light and dark, love and death, pleasure and pain. Dumas’s complete suite of thirty-two works on paper is reproduced in this volume, exactingly placed by the artist throughout Shakespeare’s text. Copublished by Athenaeum and David Zwirner Books as an English/Dutch edition, the book is a striking yet beautiful paradox—a marriage of text and image that is as sensual, fleshy, and carnal as it is unnerving and disturbing.

Venus & Adonis

Shakespeare., William

Individual Artists

David Zwirner Books

One of the top-selling female artists in the world, Marlene Dumas is a young painter whose works deal with the cycle of life as well as issues of gender, sexuality, pleasure, and pain. This is an intimate look at her life—and the intellectual, ethical, and moral questions that stimulate and absorb her—as well as a comprehensive catalog of her drawings and paintings. Essays by prominent South African artists and her curator shed light on Dumas as a person as well as her creative work and its perception in the art world.

Marlene Dumas: Intimate Relations

Bedford, Emma

Jacana Media

The lyrically charged paintings of Marlene Dumas (born 1953) eulogize the frailties of the human body, probing themes of love, melancholy and confusion even as they slyly critique racial and gender prejudice. Dumas' particular gift is to freight the haunting handling of her imagery with a political and/or sexual edge. Famed internationally (especially since her Museum of Modern Art retrospective of 2008) after three decades of perfecting her vulnerable and poised style, Dumas continues to evolve these universal themes of love and loss. Her newest series, titled Against the Wall, is comprised of large-scale paintings that include scenes of mourning mothers at the Western Wall in Jerusalem (also known as the Wailing Wall). Published on the occasion of Dumas' exhibition at David Zwirner, Dumas' first at the gallery, only a few copies of Against the Wall are available, making it certain to quickly become a collector's item.

Marlene Dumas: Against the Wall

Radius Books

Described by Deborah Solomon in a New York Times profile as “one of contemporary art’s most compelling painters,” Marlene Dumas has continuously explored the complex range of human emotions, often probing questions of gender, race, sexuality, and economic inequality through her dramatic and at times haunting figural compositions. Originally published in 2010 on the occasion of Against the Wall, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel. Throughout her career, the internationally renowned artist has continually created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in Against the Wall are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. The Wall, the painting that began the series, 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 Jerusalem. However, this work is based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. “In a sense they are my first landscape paintings,” Dumas further notes in the catalogue, “or should I say ‘territory paintings.’ That is why they are so big.” The somber color plates reproduced in the publication are given context by Dumas’s own musings, a text framed as a letter to David Zwirner in which she tries to tell him “about the ‘why’ ” of this powerful series.

History & Criticism

The latest from the renowned painter—Marlene Dumas’s 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 &amp; 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. Alongside these new paintings, Dumas presents an expansive series of thirty-two works on paper originally created for a Dutch translation of William Shakespeare’s narrative poem Venus &amp; Adonis (1593) by Hafid Bouazza (2016). Myths &amp; Mortals is accompanied by new scholarship on the artist by Claire Messud and a text by Dumas herself.

Marlene Dumas: Myths & Mortals

South African artist Marlene Dumas has cultivated a unique position within the world of figurative painting since the early 1980s, focusing on how the human body is translated into an image. Dumas dose not use models, but instead takes her images from mass media and popular culture sources, particularly newspapers and television. According to Dumas, ''what interested me was to make a statement about peoples' frames of mind and the relationships between them.'' Dumas' pictures impress with their urgent realism--but within their provocative energy lurk provocative questions about gender, identity, oppression, sexual and ethnic violence, and the situation of women and minorities; Dumas is always seeking to initiate new thought processes and critical strategies. Featuring the series of drawings One Hundred Models and Endless Rejects, this book provides an overview of the last ten years of Dumas' brilliant and challenging work.

Marlene Dumas: One Hundred Models And Endless Rejects

Medvedow, Jill

Hatje Cantz Publishers

Notwithstanding their considerable differences and individuality--one would hardly expect them to have a lover in common--Louise Bourgeois, Marlene Dumas, Paul McCarthy and Raymond Pettibon share an artistic intent to explore eroticism and sexuality. Each artist deals, in his or her own stylistic way, with the intense physical states of ecstasy, passion, conflict and fear. Working through the medium of drawing--the "medium of the mind"--they trace themselves, scribing pictorial metaphors of an alternately tender, aggressive, attached, forceful and even erotic confrontation with the material. Creativity, itself never free from conflict, undresses itself in drawings that touch on obsession, desire and the pleasures of eroticism. (In Search of) The Perfect Lover groups together extensive works on paper from the Hauser and Wirth Collections, complemented by a selection of sculptures. Accompanying texts embrace the connections between body, eroticism, sexuality and creativity, as well as the potential conflicts embedded in each artist's work.

(In Search of) the Perfect Lover: Louise Bourgeois, Marlene Dumas, Paul McCarthy, Raymond Pettibon

Pettibon, Raymond

McCarthy, Paul

Unterdörfer, Michaela

Marlene Dumas, models (German Edition)

Reference

Foreign Language Study & Reference

Oktagon

Keren Cytter: The Victim/Dreamtalk (English and German Edition)

Fuchs, Rainer

Heide, Bart Van Der

Verlag Fur Moderne Kunst Nurnberg

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