Mail & Guardian | Adrian Searle:
Tate Modern’s thrilling retrospective of the work of Marlene Dumas captures the paradoxes and ambiguities of both painting and life. A wall of faces greets you in the opening room. Dozens of ink and graphite images look back at us, wonky and misproportioned, but also weirdly right.
Marlene Dumas. Photo: Simphiwe Nkwali/Sunday Times
They’re called Rejects – do their sometimes wild imperfections signal failure, or something else? This is a good way to begin. Should we reject them, too? The series is ongoing, and Marlene Dumas keeps them close – a family full of flaws. It’s their faults that make them human…
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