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Marlene Dumas is one of the most prominent and influential painters
working today. In an era dominated by the mass media and a
proliferation of images, her work is a testament to the meaning and
potency of painting. Dumas draws on her expansive visual archive
and the nuances of language to create intense, psychologically
charged works which explore themes such as sexuality, love, death
and guilt, often referencing art history and current affairs. Her
paintings and drawings are characterized by their extraordinary
expressiveness and sometimes controversial subject matter. This
fully illustrated exhibition catalogue accompanies a major
exhibition at the Tate Modern, the Stedelijk Museum and the
Fondation Beyeler. Surveying the artist's oeuvre from the mid-70s
to the present, it features over 100 of her most important
paintings and drawings alongside lesser-known works from the early
period of her career. "The Image as Burden" also includes a new
interview with the artist; extracts from previously published but
lesser-known texts (some available in English for the first time);
and a new short story from prize-winning author Colm Toibin written
in response to the paintings. Essays and texts from a wide range of
contributors examine the key themes and motifs in her work and
reflect on Dumas' entire career.
Born in Cape Town, South Africa, in 1953, Marlene Dumas has lived
in Amsterdam since 1976. Over the last three decades she has had
numerous solo exhibitions throughout Europe and the U.S., including
shows at The Institute of Contemporary Art, Boston; the Centre
Georges Pompidou, Paris; The Museum of Contemporary Art, Los
Angeles; and The Museum of Modern Art, New York.
Born in Cotonou, Benin in 1961, Meschac Gaba moved to the
Netherlands in 1996 to take up a residency at the Rijksakademie. It
was there that he conceived The Museum of Contemporary African Art
1997-2002, an ambitious work, which took him five years to complete
and which cemented his reputation as one of the most important
African artists working today. Consisting of twelve sections -
Draft Room, Architecture, Museum Shop, Summer Collection, Games
Room, Art and Religion, Museum Restaurant, Music Room, Marriage
Room, Library, Salon and Humanist Space - this work challenges
preconceived notions of what African art is and provides a new
discursive space for social and cultural interaction, critiquing
the museum's value both as an institution, and as a symbol of
cultural capital. The importance of this work, in the history of
African art and in the lineage of critical reflections on the
museum by artists such as Marcel Duchamp and Marcel Broodthaers,
has been widely acknowledged in important exhibitions ranging from
Documenta XI, Kassel in 2002 to Intense Proximity: La Triennale,
Paris in 2012. Tate has now acquired this work. This book will be
published on the occasion of the first presentation of Gaba's
Museum of Contemporary African Art in its entirety in the UK.
Contributions by leading scholars will place this important work in
the context of the artist's oeuvre, art history and museology.
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Light (Paperback)
Kerryn Greenberg
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R959
R777
Discovery Miles 7 770
Save R182 (19%)
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Ships in 9 - 15 working days
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Light has been an enduring subject in art. In every conceivable
media, artists have exploited the contrasts between light and dark,
opposed cool and warm colours, drawn on science, and attempted to
capture the transient effects of light and its emotional
associations. This book explores how artists have perceived,
illustrated and utilised light since the eighteenth century.
Beginning with the British artist J.M.W. Turner (1775–1851) who
captured triumphant explosions of light and sought to represent its
ephemerality in paint, it reveals how his expressive use of colour
and interest in evanescent light influenced the French
Impressionists. For them, light became the subject itself, as the
likes of Claude Monet (1840–1926), Pierre-Auguste Renoir
(1841–1919), Alfred Sisley (1839–99) and others ventured
outside to capture the momentary effects of sunlight on canvas.
Exploring later innovations in photographic processes, the book
also highlights how photography became a critical vehicle through
which artists began to use light itself as a medium, eschewing
subject matter to create photographs that more closely resembled
moving abstractions than still images. While early art-historical
associations with light tend to be sublime or spiritual, by the
1960s artists including Dan Flavin (1933–96), James Turrell
(1943) and Lis Rhodes (1942–) had begun to work with artificial
light to create new types of sculptures and immersive
installations, repositioning the spectator as participant. Many
artists like Olafur Eliasson (1967–) and Tacita Dean (1965–)
continue to work with light, encouraging viewers to question their
own positions and perspectives. Showcasing over 100 remarkable
artworks from the past 200 years, this beautiful book reveals how
the intangibility of light continues to fascinate.
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Fahrelnissa Zeid (Paperback)
Tate Publishing; Edited by Kerryn Greenberg
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R636
R522
Discovery Miles 5 220
Save R114 (18%)
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Ships in 9 - 15 working days
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Fahrelnissa Zeid (1901-1991) was one of the most influential
Turkish artists, best known for her large-scale abstract paintings.
Marrying influences from Islamic, Byzantine and Eastern art with
the bold colour of the Fauvists, the geometrical dissonance of the
Cubists and the precise lines of Mondrian, Zeid developed an
abstract vocabulary that was a synthesis of East and West and was
uniquely her own. Born in Istanbul in 1901 into a family of highly
creative intellectuals, Zeid's artistic career began in the 1920s
in Paris and took her to Istanbul, Berlin and Budapest, before she
returned to Paris again in 1946. There she joined the Nouvelle
Ecole de Paris, a melting pot movement of international artists
that championed a new abstract aesthetic. In the mid-1970s Zeid
moved permanently to Amman, Jordan, where she established the Royal
Fahrelnissa Zeid Institute. She worked and taught there for the
rest of her life; her work was exhibited widely and internationally
throughout her career. This new book traces her development from
the first works she made in Turkey, through her engagement with the
D-Group, her later experiments with abstraction and, finally, her
return to figuration. It also examines the pivotal role she played
in the cross-pollination of artistic ideas in the twentieth century
through her involvement with key groups and movements in diverse
regions and communities. Documentary photography from the period
gives new insight into the historical and art historical events
that formed the backdrop to her ever evolving style. Featuring over
100 reproductions of Zeid's bold and colourful paintings, from her
earlier geometric, calligraphic style to the later, more expressive
portraits, the catalogue showcases the depth and range of her work.
Zeid's works have recently been the subject of renewed attention,
with prominent displays at the Sharjah Biennial and the fourteenth
Istanbul Biennale in 2015. Accompanying an exhibition at Tate
Modern, Fahrelnissa Zeid will be the only book available on the
life and work of this pioneering artist and will bring her unique
sensibility to the wider audience she deserves.
Memory responds to the acquisitions Deutsche Bank has made over the
past decade, many of which are by artists from Africa and/or are of
African descent. By focusing on personal narratives, alternative
perspectives and lesser-known stories, the exhibition seeks to
identify the unstable, exploit the slippages, and make clear that
the struggle against balance of power is the struggle of memory
against forgetting. Artists: Yto Barrada, Sammy Baloji, Mohamed
Camara, Samuel Fosso, Anawana Haloba, Lubaina Himid, Lebohang
Kganye, Wangechi Mutu, Toyin Ojih Odutola, Zohra Opoku, Paulo
Nazareth, Jo Ractliffe, Berni Searle, Mikhael Subotzky, Dineo Sehee
Bopape, Kara Walker, Alberta Whittle, Joy Cheong Wong. Text in
English and German.
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