Tate Modern Exhibition

Marlene Dumas: The Image as Burden

Marlene Dumas: The Image as Burden

Marlene Dumas Rejects 1994–2014 

Private collection © Marlene Dumas

Marlene Dumas is one of the most prominent painters working today. Her intense, psychologically charged works explore themes of sexuality, love, death and shame, often referencing art history, popular culture and current affairs – themes you can explore through related events.

'Secondhand images', she has said, 'can generate first-hand emotions.' Dumas never paints directly from life, yet life in all its complexity is right there on the canvas. Her subjects are drawn from both public and personal references and include her daughter and herself, as well as recognisable faces such as Amy Winehouse, Naomi Campbell, Princess Diana, even Osama bin Laden. The results are often intimate and at times controversial, where politics become erotic and portraits become political. She plays with the imagination of her viewers, their preconceptions and fears.

Born in 1953 in Cape Town, South Africa, Dumas moved to the Netherlands in 1976, where she came to prominence in the mid-1980s. This large-scale survey is the most significant exhibition of her work ever to be held in Europe, charting her career from early works, through seminal paintings to new works on paper.

The title of the exhibition is taken from The Image as Burden 1993, a small painting depicting one figure carrying another. As with many of Dumas's works, her choice of title deeply affects our interpretation of the work. It hints at the sense of responsibility faced by the artist in choosing to create an image that can translate ideas about painting and the position of the artist. For Dumas it is important 'to give more attention to what the painting does to the image, not only to what the image does to the painting.'

In an age dominated by the digital image and mass media, Dumas cherishes the physicality of the human touch with work that is a testament to the meaning and potency of painting.

A survey of works by the South-African born artist gives reason to why she is perhaps the world’s most interesting figure painter

a thrilling retrospective
The Guardian

Sex and death — Dumas always keeps us on our toes.
Ben Luke, The Evening Standard

even in a world awash with imagery, painting can still move, even haunt
The Daily Telegraph

Banner image credits:Marlene Dumas Rejects 1994–2014 Private collection © Marlene Dumas

Tate Modern

London SE1 9TG
Plan your visit


5 February – 10 May 2015

Sponsored by

Mondriaan Fund

Mondriaan Fund

In partnership with

The Image as Burden Exhibition Supporters Group

The Image as Burden Exhibition Supporters Group

and Tate Patrons

and Tate Patrons

Find out more