Specialist in modern and contemporary art history with ten years of professional expertise in the international art world and a background in academic art-history research methods.
Ib Jean Baudrillard and The Eyes of the Night Creatures .. . ....18 ... II.b. The Portra... more Ib Jean Baudrillard and The Eyes of the Night Creatures .. . ....18 ... II.b. The Portrait and The Eyes of the Night Creatures .. ... 34 ... II.c. Tradition and The Eyes of the Night Creatures ... .. .43
Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monr... more Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monroe make up some of her active commentary on the role and functioning of cultural icons in contemporary culture. Analyzing the meaning of “iconic portraits,” the author will evidence the manner in which Dumas unmasks the fact that cultural images represent collectively created stereotypical identities. By referencing the concept of “liminality” I argue that Dumas depicts these iconic subjects is in a state of transition and “in-betweenness” that functions as process of rewriting the subjectivity of the depicted characters.
Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monr... more Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monroe make up some of her active commentary on the role and functioning of cultural icons in contemporary culture. Analyzing the meaning of “iconic portraits,” the author will evidence the manner in which Dumas unmasks the fact that cultural images represent collectively created stereotypical identities. By referencing the concept of “liminality” I argue that Dumas depicts these iconic subjects is in a state of transition and “in-betweenness” that functions as process of rewriting the subjectivity of the depicted characters.
A sinner converted into a saint, Mary Magdalene poses a paradox of
representation. Conventionally... more A sinner converted into a saint, Mary Magdalene poses a paradox of representation. Conventionally portrayed as a beautiful and sensual woman with light skin and fair hair, she is most commonly shown in a state of repentance, shying away from the viewer’s gaze. Nonetheless, the penitent Magdalene is depicted with a highly sexualized aura. Marlene Dumas’ portraits of Mary Magdalene, by contrast, do not engage in the seduction of the onlooker. Her figures stand upright and directly confront the viewer with their gaze. Although sexually appealing, these figures’ sexuality is not what is at stake in these works. Starting from this premise, this article’s analysis explores the ways in which Dumas’ representations of Mary Magdalene transgress stereotypical representations of the saint, questioning and transforming canonical depictions of female subjectivity and at the same time deconstructing conventional notions of Western portraiture.
Edvard Munch's vast body of work does not neatly fit into any distinct art school or movement of ... more Edvard Munch's vast body of work does not neatly fit into any distinct art school or movement of his time, nor are his works easily definable in terms of traditional pictorial genres of art. Evading the conventional aesthetics of classical painting categories, his works became idiosyncratic interpretations of various types. From the beginning of his career, landscape has been an integral part of Munch's compositions depicting figures. An element already perceivable in his most iconic composition "The Scream", Munch's paintings show a complex entanglement between the subjects depicted and their surrounding environment. While such works have not previously been categorized as portraits, considering the attention bestowed to a central figure in the composition, these might be read as variations of this genre. However, these paintings undermine formal structures of conventional portraiture, as they juxtapose elements of landscape and portraiture, thus creating a hybrid genre of the two. Taking as case studies such works as "The Scream" and other similar compositions in Munch's oeuvre from the turn of the twentieth century, this paper will analyse the manner in which these paintings depart from conventional art historical genres to create new formulas for understanding human subjectivity. Foregrounding the employed devices to create these changes, I will investigate the manner in which the landscapes depicted in these paintings influence and empower the subjectivity of the figure depicted.
Ib Jean Baudrillard and The Eyes of the Night Creatures .. . ....18 ... II.b. The Portra... more Ib Jean Baudrillard and The Eyes of the Night Creatures .. . ....18 ... II.b. The Portrait and The Eyes of the Night Creatures .. ... 34 ... II.c. Tradition and The Eyes of the Night Creatures ... .. .43
Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monr... more Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monroe make up some of her active commentary on the role and functioning of cultural icons in contemporary culture. Analyzing the meaning of “iconic portraits,” the author will evidence the manner in which Dumas unmasks the fact that cultural images represent collectively created stereotypical identities. By referencing the concept of “liminality” I argue that Dumas depicts these iconic subjects is in a state of transition and “in-betweenness” that functions as process of rewriting the subjectivity of the depicted characters.
Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monr... more Marlene Dumas’ unrecognizable depictions of iconic figures such as Mary Magdalene or Marilyn Monroe make up some of her active commentary on the role and functioning of cultural icons in contemporary culture. Analyzing the meaning of “iconic portraits,” the author will evidence the manner in which Dumas unmasks the fact that cultural images represent collectively created stereotypical identities. By referencing the concept of “liminality” I argue that Dumas depicts these iconic subjects is in a state of transition and “in-betweenness” that functions as process of rewriting the subjectivity of the depicted characters.
A sinner converted into a saint, Mary Magdalene poses a paradox of
representation. Conventionally... more A sinner converted into a saint, Mary Magdalene poses a paradox of representation. Conventionally portrayed as a beautiful and sensual woman with light skin and fair hair, she is most commonly shown in a state of repentance, shying away from the viewer’s gaze. Nonetheless, the penitent Magdalene is depicted with a highly sexualized aura. Marlene Dumas’ portraits of Mary Magdalene, by contrast, do not engage in the seduction of the onlooker. Her figures stand upright and directly confront the viewer with their gaze. Although sexually appealing, these figures’ sexuality is not what is at stake in these works. Starting from this premise, this article’s analysis explores the ways in which Dumas’ representations of Mary Magdalene transgress stereotypical representations of the saint, questioning and transforming canonical depictions of female subjectivity and at the same time deconstructing conventional notions of Western portraiture.
Edvard Munch's vast body of work does not neatly fit into any distinct art school or movement of ... more Edvard Munch's vast body of work does not neatly fit into any distinct art school or movement of his time, nor are his works easily definable in terms of traditional pictorial genres of art. Evading the conventional aesthetics of classical painting categories, his works became idiosyncratic interpretations of various types. From the beginning of his career, landscape has been an integral part of Munch's compositions depicting figures. An element already perceivable in his most iconic composition "The Scream", Munch's paintings show a complex entanglement between the subjects depicted and their surrounding environment. While such works have not previously been categorized as portraits, considering the attention bestowed to a central figure in the composition, these might be read as variations of this genre. However, these paintings undermine formal structures of conventional portraiture, as they juxtapose elements of landscape and portraiture, thus creating a hybrid genre of the two. Taking as case studies such works as "The Scream" and other similar compositions in Munch's oeuvre from the turn of the twentieth century, this paper will analyse the manner in which these paintings depart from conventional art historical genres to create new formulas for understanding human subjectivity. Foregrounding the employed devices to create these changes, I will investigate the manner in which the landscapes depicted in these paintings influence and empower the subjectivity of the figure depicted.
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representation. Conventionally portrayed as a beautiful and sensual woman with light skin and fair hair, she is most commonly shown in a state of repentance, shying away from the viewer’s gaze. Nonetheless, the penitent Magdalene is depicted with a highly sexualized aura. Marlene Dumas’ portraits of Mary Magdalene, by contrast, do not engage in the seduction of the onlooker. Her figures stand upright and directly confront the viewer with their gaze. Although sexually appealing, these figures’ sexuality is not what is at stake in these works. Starting from this premise, this article’s analysis explores the ways in which Dumas’ representations of Mary Magdalene transgress stereotypical representations of the saint, questioning and transforming canonical depictions of female subjectivity and at the same time deconstructing conventional notions of Western portraiture.
From the beginning of his career, landscape has been an integral part of Munch's compositions depicting figures. An element already perceivable in his most iconic composition "The Scream", Munch's paintings show a complex entanglement between the subjects depicted and their surrounding environment. While such works have not previously been categorized as portraits, considering the attention bestowed to a central figure in the composition, these might be read as variations of this genre. However, these paintings undermine formal structures of conventional portraiture, as they juxtapose elements of landscape and portraiture, thus creating a hybrid genre of the two. Taking as case studies such works as "The Scream" and other similar compositions in Munch's oeuvre from the turn of the twentieth century, this paper will analyse the manner in which these paintings depart from conventional art historical genres to create new formulas for understanding human subjectivity. Foregrounding the employed devices to create these changes, I will investigate the manner in which the landscapes depicted in these paintings influence and empower the subjectivity of the figure depicted.
representation. Conventionally portrayed as a beautiful and sensual woman with light skin and fair hair, she is most commonly shown in a state of repentance, shying away from the viewer’s gaze. Nonetheless, the penitent Magdalene is depicted with a highly sexualized aura. Marlene Dumas’ portraits of Mary Magdalene, by contrast, do not engage in the seduction of the onlooker. Her figures stand upright and directly confront the viewer with their gaze. Although sexually appealing, these figures’ sexuality is not what is at stake in these works. Starting from this premise, this article’s analysis explores the ways in which Dumas’ representations of Mary Magdalene transgress stereotypical representations of the saint, questioning and transforming canonical depictions of female subjectivity and at the same time deconstructing conventional notions of Western portraiture.
From the beginning of his career, landscape has been an integral part of Munch's compositions depicting figures. An element already perceivable in his most iconic composition "The Scream", Munch's paintings show a complex entanglement between the subjects depicted and their surrounding environment. While such works have not previously been categorized as portraits, considering the attention bestowed to a central figure in the composition, these might be read as variations of this genre. However, these paintings undermine formal structures of conventional portraiture, as they juxtapose elements of landscape and portraiture, thus creating a hybrid genre of the two. Taking as case studies such works as "The Scream" and other similar compositions in Munch's oeuvre from the turn of the twentieth century, this paper will analyse the manner in which these paintings depart from conventional art historical genres to create new formulas for understanding human subjectivity. Foregrounding the employed devices to create these changes, I will investigate the manner in which the landscapes depicted in these paintings influence and empower the subjectivity of the figure depicted.