Marlene Dumas was born on 1953 in Cape Town and graduated from the University of Cape Town with a Bachelor of Fine Arts in 1975. She studied psychology in Holland for two years (1979--1980). Since then she has had numerous exhibitions and her reputation has steadily grown.Marlene Dumas makes paintings with no concept of the taboo. Racism, sexuality, religion, motherhood and childhood are all presented with chilling honesty. Undermining universally held belief systems, Dumas corrupts the very way images are negotiated. Stripped of the niceties of moral consolation, Marlene Dumas's work provokes unmitigated horror. She offers no comfort to the viewer, only an unnerving complicity and confusion between victims and oppressors.
?I don't have any conception of how big an average head is, I've never been interested in anatomy. In that respect I relate like children do. What is experienced as most important is seen as the biggest, irrespective of actual or factual size. In the movies everything is larger than life and yet you experience that as real(istic); all my faces are much bigger than human scale. From blowing up to zooming in, for me the ?close-up? was a way of getting rid of irrelevant background information and by making the facial elements so big, it increased the sense of abstraction concerning the picture frame. The elimination of the background also did away with the place of being and environmental context.?
?As the isolation of a recognisable figure increases and the narrative character decreases (contrary to what one might initially assume that this lack of illustrative information would bring about), the interpretative effects are inflamed. The titles re-direct the work, however, they do not eradicate the inherent ambiguity. One cannot interpret the painting of Jule-die Vrou without entangling some of the root metaphors applied not only to the female, but to the idea of portrayal in general?. Marlene Dumas, 1992.
Conclusions:
Marlene Dumas's provocative paintings of women, children, celebrities and people of colour are as psychologically disturbing as they are violently beautiful. Championing the under-represented classes, her characters occupy an unholy ground where the viewer's individual morality, ethics and adherence to ideological convention are questioned.
What to Do Next...
If you want any information about Marlene Dumas or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/marlene_dumas.htm
Black And White Art Work
Wang Guangyi was born on 1957 Born in Harbin, China. He lives and works in Beijing, China. The paintings of Wang Guangyi belong to the category of Chinese contemporary art termed Political Pop: work that appropriates the visual tropes of the propaganda of the Cultural Revolution, reworking them in the flat, colorful style of American Pop.
To understand the works of artists engaged in this practice, it is important to recognize the significance and specificity of the images they are using to fashion their work. Without this knowledge, the work of artists like Wang Guangyi may be reduced to a mere aestheticization of the experiences of the Cultural Revolution, a view which threatens to limit the discussion of these works to their formal elements, foreclosing more important ideological and historical questions that must be raised.
It is perhaps equally essential, particularly for Western audiences, to keep in mind the dominance that the Maoist regime held over visual culture and artistic production in China from 1949 to 1976, a control that reached a near totality between 1966 and 1972, during the Gang of Four's reign [i].
Wang Guangyi's paintings combine the ideological power of communist propaganda with the seductive allure of advertising. Juxtaposing revolutionary images with consumer logos, Wang's canvases provocate with their duplicitous message, highlighting the conflict between China's political past and commercialised present. Stylistically merging the government enforced aesthetic of agitprop with the kitsch sensibility of American pop, Wang's work adopts the cold-war language of the 60s to ironically examine the contemporary polemics of globalisation.
Through his critique, Wang's paintings weave intricate narratives, implicating the role of the artist as an active participant (both as subjugator and subservient) in economic and social policy. Wang treads a very delicate line between moral dictum and capitalist endorsement; the interpretation of his paintings alternates with the subjectivity of context. Amalgamating, confusing, and blurring opposing ideological beliefs, Wang's billboard sized canvases readily sell out national valour, while simultaneously devaluing status symbol luxury for the proletariat cause.
Certainly, the vast legacy of propaganda that resulted from this period will continue to impact artists interested in critically examining China's recent visual history. After all, these images were more than simply popular; for a time, they were the only ones allowed.
Conclusions:
Wang Guangyi had already established his own style and the impact of the work had won him a strong reputation in Chinese art circles.
What to Do Next...
If you want any information about Wang Guangyi or looking for his paintings please visit us on http://www.saatchi-gallery.co.uk/artists/wang_guangyi.htm
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