This afternoon I happily made my way over to the Museum of Modern Art to see “Measuring Your Own Grave” the first mid-career survey of Marlene Dumas‘ work. I was giddy as I zig-zagged between the hordes of tourists hoping to catch a glimpse of the Van Gogh exhibit (closing January 5th). I took the elevator to the 5th floor, then escalator to the 6th floor, only with this particular show in mind.

Before entering the exhibit, visitors are greeted by a poem written by Dumas herself. I quickly put the words into my cell phone and saved them as a “draft” text message.

A painting needs a wall to object to
An image needs edges to relate to
And content needs a grave to go to.
-Marlene Dumas, 2008

As I moved through the galleries, observing those around me, my senses heightened. I was both more aware and less aware of my surroundings at the same time. The work is much larger than I imagined and extremely confident in its uneasy presence. Titles give way to proposed narrative and there is an obvious organization of thought process in the paintings themselves and in their arrangements on the gallery wall.

 

 

Marlene Dumas, Museum of Modern Art, Photograph by Katy Hamer

Upon approaching the painting “Genetiese Heimwee” (Genetic Longing), 1984, (shown above) I almost burst into tears and actually had to bite my lip as my eyes welled. I allowed the painting to envelope my gaze as the woman in the image averts her own eyes. Languidly retracing my steps through the exhibition the way I came, I realized that I believe this exhibit to be one of the most important I’ve seen and one of the most important in regards to contemporary painting. The only criticism or question that was raised, is I found myself wondering about her most recent work. Much of the art spans from 1984 to present, and the few pieces that date from 2007-2008 were small and almost shy. Yet, within all the work content and space are both characters in the same plot, cohesively and symbiotically assisting in creating human form. The grotesque beauty and draftsmanship feed off one another in subtle brush strokes and purposeful drips. Once in a while I heard those around me ooooohing and aahhhhing, some shuddering while others smiled. The content that is “buried” also breaks through its own seal revealing itself through abjection an shrewd beauty. In some cases, the actual subject became less important than the work as a whole. The mark-making and surface layers are overpowering as content.

Marlene Dumas, Museum of Modern Art, Photograph by Katy Hamer

Regardless, while I also enjoyed Elizabeth Peyton’s “Live Forever” (which is still on view at the New Museum until January 11th) I couldn’t help but wonder as I ogled Marlene’s smooth, stretched, grayed and fleshy bodies that exist within the confines of canvas hanging on a wall…..

Marlene Dumas, Museum of Modern Art, Photograph by Katy Hamer

“If Elizabeth Peyton and Marlene Dumas got into a fight….who would win?”

Well, after seeing “Measuring Your Own Grave”, I know who I’d bet my money on….

Marlene Dumas, Museum of Modern Art, Photograph by Katy Hamer

Marlene Dumas, Measuring Your Own Grave, both in the painting and drawing galleries is on view until February 16th. I also recommend seeing the Artist’s Choice: Vik Muniz, Rebus. on view until February 23rd, and Pipilotti Rist’s Pour Your Body Out, on view until February 2nd. After some near misses…MoMA is currently stepping up to the plate and giving New Yorker’s and the world, art that will continue to make a mark now and going forward.