Selected Bibliography - Marlene Dumas

Monographs

2018

Marlene Dumas, Trine Otte Bak Nielsen.Omega’s Eyes. Marlene Dumas on Edvard Munch, guest star René Daniëls.Oslo: Munch Museum, 2018

2017

Jan Andriesse, Ulrich Bischoff, Bert Boogaard, Marlene Dumas.Ein Altarbild für die Annenkirche in Dresden / An altarpiece for the Annenkirche in Dresden.Cologne: Verlag der Buchhandlung Walther König, 2017

William Shakespeare.Venus & Adonis.Amsterdam: Athenaeum, 2017 [translated and annotated by Hafid Bouazza; illustrated by Marlene Dumas, limited edition with color plates]

2016

William Shakespeare.Venus & Adonis.Amsterdam: Athenaeum, 2016 [translated and annotated by Hafid Bouazza; illustrated by Marlene Dumas; black-and-white plates]

2014

Marlene Dumas, Mariska van den Berg.Marlene Dumas. Sweet Nothings. Notes and Texts 1982-2014.London: Koenig Books, 2014 [second edition, revised and expanded]

2009

Dominic van den Boogerd, Barbara Bloom, Mariuccia Casadio, Ilaria Bonacossa.Marlene Dumas.London: Phaidon Press, 2009 [revised and expanded edition of Marlene Dumas, Phaidon, 1999]

2006

Illaria Bonacossa.Marlene Dumas: Supercontemporanea / Hypercontemporain. Milan/Paris: Mondadori Electa/Éditions Hazan, 2006

2005

Jan Tromp, Marlene Dumas, Ernst Hoette, Hans den Hartog Jager.Maar wie ik ben gaat niemand wat aan.Breda: GGZ Regio Breda, 2005

1999

Dominic van den Boogerd, Barbara Bloom, Mariuccia Casadio.Marlene Dumas. London: Phaidon, 1999

1998

Marlene Dumas, Mariska van den Berg.Sweet Nothings: Notes and Texts by Marlene Dumas.Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998

Solo Exhibition Catalogues

2022

Marlene Dumas: Intimate Relations.(exhibition catalogue) Amsterdam/Johannesburg: Roma Publications/Jacana Media, 2022 [reprinted and slightly revised edition of Marlene Dumas: Intimate Relations, Roma Publications/Jacana Media, 2007 and 2013]

Marlene Dumas: open-end.(exhibition catalogue) Venice: Palazzo Grassi, 2022

2020

Marlene Dumas – Zeno X Gallery: 25 years of collaboration.(exhibition catalogue) Antwerp/London: Zeno X Books/Hannibal/Koenig Books, 2020

2019

Marlene Dumas: Myths & Mortals.(exhibition catalogue) New York: David Zwirner Books, 2019

2014

Marlene Dumas: The Image as Burden.(exhibition catalogue) London: Tate Publishing, 2014

2013

Twice: Marlene Dumas – Luc Tuymans.(exhibition catalogue) Antwerp: Zeno X, 2013

Marlene Dumas: Intimate Relations.(exhibition catalogue) Amsterdam / Johannesburg: Roma Publications/Jacana Media, 2013 [reprinted and slightly revised edition of Marlene Dumas: Intimate Relations, Roma Publications/Jacana Media, 2007]

2012

Marlene Dumas: Love Hasn’t Got Anything to Do With It / Miłość nie ma z tym nic wspólnego.(exhibitioncatalogue) Warsaw: Zachęta National Gallery of Art, 2012

Marlene Dumas: Sorte.(exhibition catalogue) Milan: Silvana, 2012

2011

Forsaken.(exhibition catalogue) London: Frith Street Gallery, 2011

2010

Marlene Dumas: Against the Wall.(exhibition catalogue) Amsterdam/Santa Fe: Idea BooksDistribution/Radius Books, 2010

Tronies: Marlene Dumas and the Old Masters.(exhibition catalogue) Munich: Richter Verlag, 2010

Contra o Muro: Marlene Dumas 2010.(exhibition catalogue) Porto: Serralves Museum, 2010

2008

Marlene Dumas: Measuring your own Grave.(exhibition catalogue) Los Angeles/New York: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008

Marlene Dumas: Magnetic Fields.(exhibition catalogue) Düsseldorf: HG Lohee and Kunst Palast, 2008

2007

Marlene Dumas: Intimate Relations.(exhibition catalogue) Amsterdam / Johannesburg: Roma Publications/Jacana Media, 2007

Broken White.(exhibition catalogue) Marugame/Tokyo: Marugame Genichiro-Inokuma Museum of Contemporary Art/Museum of Contemporary Art, 2007

2006

Man Kind.(exhibition catalogue) Amsterdam: Galerie Paul Andriesse, 2006

2005

M+M Marlene Dumas + Marijke van Warmerdam.(exhibition catalogue) Cologne: Verlag der Buchhandlung Walther König, 2005

Marlene Dumas: Female.(exhibition catalogue) Cologne: Snoeck, 2005

Marlene Dumas: Selected works.(exhibition catalogue) New York: Zwirner & Wirth, 2005

2004

Marlene Dumas: The Second Coming.(exhibition catalogue) London: Frith Street Books, 2004

2003

Marlene Dumas: Wet Dreams – Watercolors.(exhibition catalogue) Ravensburg/Ostfildern: StädtischeGalerie Ravensburg/Hatje Cantz, 2003

Focus: Marlene Dumas, Time and Again.(exhibition catalogue) Chicago: The Art Institute of Chicago, 2003

Marlene Dumas: Suspect.(exhibition catalogue) Milan/London: Skira/Thames and Hudson, 2003

2002

The Paradise (4): Marlene Dumas (Home, Marlene Dumas, Heaven).(exhibition catalogue) Dublin: TheDouglas Hyde Gallery, 2002

2001

Marlene Dumas: Nom de Personne / Name no Names.(exhibition catalogue) Paris: Centre Georges Pompidou, 2001

Marlene Dumas: One Hundred Models and Endless Rejects.(exhibition catalogue) Boston/Ostfildern:Institute of Contemporary Art/Hatje Cantz Verlag, 2001

2000

strippinggirls: Anton Corbijn, Marlene Dumas.(exhibition catalogue) Amsterdam: Stichting Actuele Kunstdocumentatie, 2000

1999

Marlene Dumas: MD.(exhibition catalogue) Antwerp/London/Høvikodden: MUKHA/Camden ArtsCentre/Henie Onstad Kunstsenter, 1999

1998

Damenwahl: Marlene Dumas und Andries Botha.(exhibition catalogue) Kassel/Cologne: KunstvereinKassel/Oktagon Verlag, 1998

Marlene Dumas: fantasma, desenhos / Marlene Dumas: fantasma, drawings (exhibition catalogue) Lisbon: Fundação Calouste Gulbenkian, Centro de Arte Moderna /José de Azeredo Perdigao, 1998

1997

Marlene Dumas: Wolkenkieker.(exhibition catalogue) Hamburg: Produzentengalerie, 1997

1996

Marlene Dumas: Youth and other Demons.(exhibition catalogue) Tokyo: Gallery Koyanagi, 1996

Pin-Up.(exhibition catalogue) Tienen: Stedelijk Museum ‘het Toreke’, 1996

Marlene Dumas.(exhibition catalogue) London: Tate Gallery, 1996

1995

Marlene Dumas – Francis Bacon.(exhibition catalogue) Milan: Charta, 1995

Marlene Dumas – Francis Bacon: Det Unika Med Att Vara en Människa (The Particularity of Being Human). (exhibition catalogue) Malmö: Malmö Konsthall, 1995

Marlene Dumas: Models.(exhibition catalogue) Stuttgart/Salzburg: Oktagon/Salzburger Kunstverein, 1995

Dumas, Roosen, Van Warmerdam.(exhibition catalogue) Rotterdam/Amsterdam: Witte de With, Center for Contemporary Art in collaboration with the Mondriaan Foundation, 1995

1994

Marlene Dumas.(exhibition catalogue) Chicago: The Arts Club of Chicago, 1994

Chlorosis – Marlene Dumas.(exhibition catalogue) Dublin: Douglas Hyde Gallery, 1994

1993

Marlene Dumas.(exhibition catalogue) Philadelphia: Goldie Paley Gallery at Moore College of Art andDesign, 1993

Marlene Dumas.(exhibition catalogue) Bonn/London: Bonner Kunstverein/ICA London, 1993Marlene Dumas: Land of Milk and Honey.(exhibition catalogue) Hamburg: Produzentengalerie, 1993

1992

Marlene Dumas: Miss Interpreted.(exhibition catalogue) Eindhoven: Stedelijk van Abbemuseum, 1992

1990

Marlene Dumas: The Origin of the Species.(exhibition catalogue) Munich: Staatsgalerie Moderner Kunst, Bayerische Staatsgemäldesammlungen, 1990

Marlene Dumas: Couples.(exhibition catalogue) Amsterdam: Museum Overholland, 1990

1989

Marlene Dumas: The Question of Human Pink.(exhibition catalogue) Bern: Kunsthalle Bern, 1989

1988

Marlene Dumas: Nightmares.(exhibition catalogue) Maastricht: Galerie Wanda Reiff, 1988Waiting (for meaning).(exhibition catalogue) Kiel: Kunsthalle zu Kiel, 1988

1987

Adam Colton, Marlene Dumas, Daniel Groen, Martin van Vreden.(exhibition catalogue) Amsterdam: Artand Project/Galerie Paul Andriesse/Van Krimpen/The Living Room, 1987: p. 8-11

Marlene Dumas: Strips.(exhibition catalogue) Amsterdam: Stichting één op één/Museum Fatigue, 1987

1985

The Eyes of the Night Creatures.(exhibition catalogue) Amsterdam: Galerie Paul Andriesse, 1985

1984

Marlene Dumas: Ons Land Licht Lager Dan De Zee.(exhibition catalogue) Utrecht: Centraal Museum, 1984

Group Exhibition Catalogues

2023

Maria Roosen & Guests.(exhibition catalogue) Zwolle: Museum de Fundatie – Fundatie Future Factory,2023 [Magazine, Edition 1, November 2023]

2021

Close-Up.(exhibition catalogue) Riehen/Basel/Berlin: Fondation Beyeler/Hatje Cantz Verlag, 2021

2020

Shame! and Masculinity.(exhibition catalogue) Amsterdam: Valiz in collaboration with Herengracht 401, 2020

2019

Rembrandt’s Mark.(exhibition catalogue) Dresden: Staatliche Kunstsammlungen, Dresden,Kupferstich-Kabinett in association with Paul Holberton Publishing, 2019: p. 248-249

The Expressionist figure: the Miriam and Erwin Kelen Collection of Drawings.(exhibition catalogue) Minneapolis: Walker Art Center, 2019

2018

Possibilities for a non-alienated life -Short Guide Kochi-Muziris Biennale 2018.(exhibition catalogue) Kerala: Kochi Biennale Foundation, 2018: p. 300-303

Marlene Dumas – Rosemarie Trockel: Werke aus der Sammlung Garnatz.(exhibition catalogue) Petersberg: Michael Imhof Verlag, 2018

Debout!.(exhibition catalogue) Paris: Editions Dilecta/Collection Pinault, 2018

Out of Office: Kunstschatten uit bedrijven – Art in business.(exhibition catalogue) Eindhoven: Lecturis, 2018: p. 76-77, 108

De Meest Eigentijdse Schilderijen Tentoonstelling. Nederlandse schilderkunst van nu.(exhibition catalogue) Bussum: Uitgeverij Thoth, 2018: p. 58-63

2017

Die Augen der Bilder. Portraits von Fragonard bis Dumas.(exhibition catalogue) Berlin: Hatje Cantz Verlag, 2017

The Absent Museum: A Blueprint for a Museum of Contemporary Art for the Capital of Europe.(exhibition catalogue) Brussels/Antwerp: WIELS and Mercatorfonds/Fonds Mercator, 2017: p. 78-83

Inside: Artists and Writers in Reading Prison.(exhibition catalogue) London: Artangel, 2017

Monochrome: Painting in Black and White.(exhibition catalogue) London/Dusseldorf: National gallery/Museum Kunstpalast, 2017: p. 20, 173-174

2016

Échos.(exhibition catalogue) Paris: Chapel of the former Laennec Hospital/33èmes Journées Européennes du Patrimoine, 2016: p. 8-9

The Power of the Avant-Garde.(exhibition catalogue) Tielt/Brussels: Lannoo Publishers/Bozar Books, 2016: p. 66-72

Unfinished: Thoughts Left Visible.(exhibition catalogue) New York: The Metropolitan Museum of Art, 2016

2015

Flaesh.(exhibition catalogue) Prague: Galerie Rudolfium, 2015: p. 25-34

Roma Publications at Fondazoine Giuliani, Rome.(exhibition catalogue) Amsterdam/Rome: Roma Publications/Fondazione Giuliani, 2015

Picasso in Contemporary Art / Picasso in der Kunst der Gegenwart.(exhibition catalogue) Cologne: Snoeck Verlag, 2015

La Biennale di Venzia – All the World’s Futures – Biennale Arte 2015 – Exhibition.(exhibition catalogue) Venice: Marsilio, 2015: p. 493, 566, 609

Open this End.(exhibition catalogue) Los Angeles: The Skylark Foundation, 2015

2014

Beating aroung the bush. Episode #4.(exhibition catalogue) Maastricht: Bonnefantenmuseum, 2014

An Appetite for Painting.(exhibition catalogue) Oslo: Nasjonalmuseet, 2014: p. 87-91

Manifesta 10: The European biennial of contemporary art.(exhibition catalogue) London: Koenig Books, 2014: p. 82-97

2013

On Paper / Sobre papel.(exhibition catalogue) Cáceres: Centro de Arte Visuales Fundación Helga de Alvear, 2013: p. 266-267

Skin: an Artistic Atlas.(exhibition catalogue) Dublin: Royal Hibernian Academy/Irish Skin Foundation, 2013

Vereeuwigd 1913-2013 – Nederlandse portretkunst In het voetspoor van Frans Hals.(exhibition catalogue) Haarlem: De Hallen, 2013

Stop making Sense: Nederlandse kunst in de jaren 80 van de vorige eeuw.(exhibition catalogue) Wezep: Uitgeverij de Kunst, 2013: p. 44-47

Sluizen: Change of Poles.(exhibition catalogue) Moscow: National Centre for Contemporary Arts (NCCA), 2013

Prima Materia.(exhibition catalogue) Milan: Mondadori Electa, 2013: p. 148-153

Cobra tot Dumas: Collectie de Heus-Zomer. Nederlandse Kunst 1948-2012. (exhibition catalogue) Bussum: Uitgeverij Toth, 2013: p. 108-111

2012

Sidetracks. Painting in the Paramodern Continiuum.(exhibition catalogue) Oslo: Orfeus Publishing, 2012: p. 72-75, 122-123

Art and Press: Kunst. Wahrheit. Wirklichkeit / Art. Truth. Reality.(exhibition catalogue) Bonn/Cologne: Stiftung für Kunst und Kultur e. V. Bonn/Wienand Verlag, 2012: p. 122-125

Through an Open Window: Contemporary Art from the Rabo Art Collection.(exhibition catalogue) Paris: Institut Néerlandais, 2012

2011

ABC, Art Berlin Contemporary: About Painting.(exhibition catalogue)Station, Milan: Mousse Publishing, 2011: p. 82

Artists for Haiti.(exhibition catalogue) New York: David Zwirner, 2011

The World Belongs to You.(exhibition catalogue) Milan: Electra, 2011: p. 83-84, 272-273

Max Beckmann: Von Angesicht zu Angesicht / Max Beckmann: Face to Face.(exhibition catalogue) Ostfildern: Hatje Cantz Verlag, 2011

Une terrible beauté est née / A terrible beauty is born.(exhibition catalogue) Dijon: Les Presses du réel, 2011

2010

Hareng Sauer: Ensor and Contemporary Art.(exhibition catalogue) Ghent: S.M.A.K. – Stedelijk Museum voor Actuele Kunst Gent, 2010: p. 75, 77, 234

2009

Difference on Display: Diversity in Art, Science & Society.(exhibition catalogue) Rotterdam: Nai Publishers/Niet Normaal Foundation, 2009: p. 320-321

Ophelia, Sehnsucht, melancholie en doodsverlangen.(exhibition catalogue) Amsterdam: Uitgeverij De Buitenkant, 2009

Mapping the Studio: Artists from the François Pinault Collection.(exhibition catalogue) Milano: Mondadori Electa, 2009: p. 226-229

Women Artists: elles@centrepompidou; in the Collection of the Musée National d’Art Moderne, Centre de Création Industrielle.(exhibition catalogue) Paris: Centre Georges Pompidou, 2009

2008

Go for it! Olbricht Collection (a sequel).(exhibition catalogue) Bremen/Cologne: Weserburger Museum für Moderne Kunst/Salon, 2008: p. 25

Order. Desire. Light.(exhibition catalogue) Dublin: Irish Museum of Modern Art, 2008: p. 63-64

Diana und Actaeon: der verbotene Blick auf die Nacktheit.(exhibition catalogue) Ostfildern/Düsseldorf: Hatje Cantz/Museum Kunst Palast, 2008

2007

Sister Sledge.(exhibition catalogue) Sigean: Lieu d’Art Contemporain, 2007

Artempo: Where Time Becomes Art.(exhibition catalogue) Ghent: Vervoordt, 2007: p. 71

Leve de Schilderkunst! Terug naar de figuur.(exhibition catalogue) Rotterdam: Veenman, 2007: p. 88-89

Sequence 1: Pittura a Scultura nella Collezione François Pinault, Palazzo Grassi / Sequence 1: Painting and Sculpture from the François Pinault Collection.(exhibition catalogue) Milan: Skira, 2007: p. 181

Contour. Continuïteit: Heden en Verleden met 111 hedendaagse Nederlandse kunstenaars in drie Delftse musea.(exhibition catalogue) Zwolle: Waanders Uitgevers, 2007: p. 122

The Painting of Modern Life: 1960s to now.(exhibition catalogue) London: Hayward Gallery, 2007: p. 120-125, 192

2006

Ecce Uomo.(exhibition catalogue) Milan: Electa, 2006: p. 61-63

Körper, Gesicht und Seele: Frauenbilder vom 16. bis 21. Jahrhundert.(exhibition catalogue) Vienna: Leopold Museum, 2006

The 80s: A Topology / Anos 80: Uma Topologia.(exhibition catalogue) Porto: Fundação de Serralves, 2006: p. 172-175

Respect! Forms of community: contemporary Art from the Netherlands.(exhibition catalogue) Amsterdam: Mondriaan Stichting, 2006: p. 86-97

Infinite painting: pittura contemporanea e realismo globale / Infinite Painting: Contemporary Painting and Global Realism.(exhibition catalogue) Codroipo: Villa Manin, 2006: p. 62-65

Six Feet Under: Autopsie unseres Umgangs mit Toten / Autopsy of our Relation to the Dead.(exhibition catalogue) Bielefeld/Bern: Kerber/Kunstmuseum, 2006

Gorge(l): Beklemming en verademing in de kunst.(exhibition catalogue) Antwerp: Koninklijk Museum voor Schone Kunsten, 2006: p. 95-98/103-106

2005

Getting Emotional.(exhibition catalogue) Boston/New York: Institute of Contemporary Art/D.A.P., 2005

Self Portrait: Renaissance to Contemporary.(exhibition catalogue) London: National Portrait Gallery, 2005: p. 192-193

Soul: Bezielde kunst – Inspired Art.(exhibition catalogue) Oostkamp: Stichting Kunstboek, 2005: p. 86-89

La Biennale di Venezia: 51. International Art Exhibition. The Experience of Art.(exhibition catalogue)Venice: La Biennale di Venezia/Rizzoli, 2005 [Volume 1]

The Triumph of Painting.(exhibition catalogue) London: Jonathan Cape in association with Saatchi Gallery, 2005: p. 60-61

(my private) Heroes.(exhibition catalogue) Herford: Marta Herford, 2005

Black and White and a little bit of Colour.(exhibition catalogue) Arnhem: Museum voor Moderne Kunst Arnhem, 2005: p. 5-6, 22, 45

2004

Friedrich Christian Flick Collection in Hamburger Bahnhof.(exhibition catalogue) Berlin: SMB DuMont, 2004: p. 111-115

Diaries and Dreams: Arbeiten auf Papier.(exhibition catalogue) Kraichtal-Unteröwisheim: Ursula BlickleStiftung, 2004

2003

(In search of) the perfect lover.(exhibition catalogue) Sankt Hallen: Sammlung Hauser und Wirth, 2003: p. MD 1-3

Happiness: A Survival Guide for Art and Life .(exhibition catalogue) Kyoto/Tokyo: Mori Art Museum/Tankosha Publishing Co. Ltd., 2003

Micropoliticas: Arte y cotidianidad (2001-1968) = Micropolitics: Art and everyday life (2001-1968). (exhibition catalogue) Valencia: Generalitat Valenciana, 2003

unHEIMlich.(exhibition catalogue) Hauschild: Bremen, 2003: p. [n.p.]

Niños /Children.(exhibition catalogue) Salamanca: CASA, Centro de Arte de Salamanca, 2003

(In search of) the perfect lover.(exhibition catalogue) Ostfildern: Hatje Cantz, 2003: p. 60-95

2002

Hofvijver in Poëzie & Beeld.(exhibition catalogue) The Hague: Uitgeverij De Nieuwe Haagsche, 2002: p. 73, 213

Early Works: De Ateliers 1998-2002.(exhibition catalogue) Amsterdam: Stichting Ateliers ’63, 2002: p. 20-21

Apparition: The Action of Appearing.(exhibition catalogue) Bristol: Arnolfini, 2002: p. 58-59

Der Akt in der Kunst des 20. Jahrhunderts.(exhibition catalogue) Emden: Wienand Verlag, 2002

2001

The Beauty of Evil / De Schoonheid van het Kwaad.(exhibition catalogue) Amersfoort: Armando Museum, 2001

the Beauty of Intimacy: Lens and Paper.(exhibition catalogue) The Hague/Baden-Baden/Innsbrück: Gemeentemuseum/Staatliche Kunsthalle/Kunstraum, 2001

Atlas der Bewegingen, beweging #46 de Watouwandelingen – Watou Poëziezomer 2001: Een lege plek om te blijven.(exhibition catalogue) Watou: Drukkerij Lannoo, 2001: p. 211, 292

Painting at the Edge of the World.(exhibition catalogue) Minneapolis: Walker Art Center, 2001

Fra de Hollandske Lavlande: Virkelighed og Kunst, 1960–2001 / From the Low Countries: Reality and Art from 1960-2001.(exhibition catalogue) Copenhagen: Udstillingsbygning ved Charlottenborg, 2001: p. 42-45

2000

Die Verletzte Diva: Hysterie, Körper, Technik in der Kunst des 20. Jahrhunderts.(exhibition catalogue) Cologne: Oktagon, 2000

De Voorstelling: Nederlandse Kunst in het Stedelijk Paleis.(exhibition catalogue) Amsterdam: Stedelijk Museum/Ludion Gent, 2000: p. 44, 50, 127

Enlighten my Eyes / Verlicht mijn ogen.(exhibition catalogue) Leeuwarden: Commissie kerk en kunst van de Grote Kerk, 2000: p. 18-19

Mixing Memory and Desire.(exhibition catalogue) Luzern: Neues Kunstmuseum Luzern, 2000

Kinder des 20. Jahrhunderts: Malerei, Skulptur, Fotografie.(exhibition catalogue) Cologne: Wienand Verlag, 2000

Biennale of Sydney 2000: 12th Biennale of Sydney.(exhibition catalogue) Sydney: Biennale of Sydney, 2000

Europa: Differenti Prospettive nella Pittura / Europe: Different Perspectives in Painting.(exhibition catalogue) Milan: Giancarlo Politi Editore, 2000

Exorcism aesthetic terrorism: licht ontvlambare temperamenten in de hedendaagse kunst = Exorcism aesthetic terrorism: fiery temperaments in contemporary art.(exhibition catalogue) Rotterdam: Museum Boijmans Van Beuningen, 2000: p. 66-67

1999

Cinco continentes y una ciudad / Five continents and one city.(exhibition catalogue) Mexico City: Gobierno del Distrito Federal, 1999: p. 192-196, 354

Présumés Innocents: L’Art Contemporain et l’Enfance.(exhibition catalogue) Bordeaux: Musée d’Art Contemporain, 1999

Trouble Spot: Painting.(exhibition catalogue) Antwerp: Nieuw Internationaal Cultureel Centrum (NICC) and Museum van Hedendaagse Kunst (MUKHA), 1999: p. 41, 165-166

Regarding Beauty: A View of the Late Twentieth Century.(exhibition catalogue) Washington D.C.: Hirshhorn Museum and Sculpture Garden, 1999

Physical Evidence.(exhibition catalogue) Cambridge: Kettle’s Yard, 1999

Negotiating small Truths.(exhibition catalogue) Austin: Jack S. Blanton Museum of Art, 1999: p. 32-41, 116, 140

Kunsthaus Mürz: Jahresmuseum 1996.(exhibition catalogue) Leobersdorf: Kunsthaus Mürzzuschlag, 1999

Le Sommeil, ou quand la raison s’absente.(exhibition catalogue) Lausanne: Musée Cantonal des Beaux-Arts, 1999: p. 41-45, 120

1998

Eight People from Europe: Marlene Dumas.(exhibition catalogue) Gunma: Museum of Modern Art, 1998

Auf der Spur: Kunst der 90er Jahre im Spiegel von Schweizer Sammlungen (exhibition catalogue) Zurich: Kunsthalle Zürich, 1998

A Noir.(exhibition catalogue) Paris: Assouline, 1998

Wounds: between Democracy and Redemption in Contemporary Art.(exhibition catalogue) Stockholm:Moderna Museet, 1998 [two parts: images and text ]

S.M.A.K. in Watou: ‘Voor het verdwijnt en daarna’.(exhibition catalogue) Ghent/Watou: Poëziezomers/Stedelijk Museum voor Actuele Kunst Gent, 1998

Verzachtende Omstandigheden: Wandtapijten in het Paleis van Justitie ‘s-Hertogenbosch / Extenuating Circ*mstances: Wall Hangings in the Hall of Justice in ‘s-Hertogenbosch.(exhibition catalogue) Rotterdam: Uitgeverij 010, 1998: p. 50-57

1997

Floating Images of Women in Art History: From the Birth of Feminism toward the Dissolution of Gender. (exhibition catalogue) Utsunomiya: Tochigi Prefectural Museum of Fine Arts, 1997: p. 132

Luoghi: Alla ricerca del territorio.(exhibition catalogue) Milan: Electra, 1997: p. 56-59

La Pittura Flamminga e Olandesa: da Van Gogh, Ensor, Magritte, Mondrian al Contemporanei.(exhibition catalogue) Milan: Bompiani, 1997: p. 285, 326, 356

Novecento nudo.(exhibition catalogue) Rome: Viviani arte, 1997

1996

Distemper: dissonant themes in the art of the 1990s.(exhibition catalogue) Washington: Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, 1996

1995

Art as thought, art as energy / Sztuka jako mysl, sztuka jako energia.(exhibition catalogue) Wroclaw:Muzeum Architektury, 1995: p. 171 [Part II: Dokumenty / Documents]

Art as thought, art as energy = Sztuka jako mysl, sztuka jako energia.(exhibition catalogue) Wroclaw: Muzeum Architektury, 1995: p. 131-137

L’Ottobre degli Olandesi: 12 artisti contemporanei dai Paesi Bassi a Roma.(exhibition catalogue) Rome: Galerie Luce Monacchese, 1995: p. 20-27

Jezus is Boos: Het beeld van Christus in de Hedendaagse Kunst.(exhibition catalogue) Zoetermeer: Boekencentrum, 1995

Carnegie International of Contemporary Art 1995.(exhibition catalogue) Pittsburgh: The Carnegie Museum of Contemporary Art, 1995: p. 80-81

Identity and Alterity: Figures of the Body 1895–1995.(exhibition catalogue) Venice: Marsilio Editori, 1995: p. 454, 476-477, 560

Näyttelyopas Utställningsguide: ARS 95.(exhibition catalogue) Helsinki: Nykytaiteen Museon, 1995

Des limites du tableau: Les possibles de la peinture.(exhibition catalogue) Rochechouart: Musée départemental de Rochechouart, 1995: p. 38-41, 107

1994

Spuren von Ausstellungen der Kunsthalle in Sammlungen zeitgenössischer Kunst (exhibition catalogue) Bern: Kunsthalle Bern, 1994

tekenend: tekeningen van Nederlandse Kunstenaars uit de Collectie Becht. (exhibition catalogue) Apeldoorn: Van Reekum Museum, 1994

4 x 1 im Albertinum, Marlene Dumas, Günther Fruhtrunk, Louise Lawler, Marcel Odenbach.(exhibition catalogue) Dresden: Staatliche Kunstsammlungen, 1994: p. 13

Dialogue with the Other: International Contemporary Visual Artists relating to the Concept of the Other. (exhibition catalogue) Odense: Kunsthallen Brandts Klædefabrik, 1994: p. 62-63, 126-127

L’Orizzonte: Da Chagall a Picasso, da Pollock a Cragg. Capolavori dello Stedelijk Museum di Amsterdam. (exhibition catalogue) Milan: Charta, 1994

Ik + de Ander: Dignity for All, Reflections on Humanity.(exhibition catalogue) Amsterdam: Stichting Artimo, 1994: p. 18

Du concept à l’image: Art Pays Bas au XXème Siecle.(exhibition catalogue) Paris: Musée d’Art Moderne de la Ville de Paris, 1994: p. 75-83

Het Getekende Gelaat.(exhibition catalogue) Amersfoort: Hermen Molendijk Stichting/Centrum Beeldende Kunst, 1994

1993

The 21st Century: Into the Future with Paracelsus / Das 21. Jahrhundert: Mit Paracelsus in die Zukunft. (exhibition catalogue) Basel: Kunsthalle, 1993: p. 121

Gegenbilder.(exhibition catalogue) Münster: Lambertkirche, 1993

Über-Leben.(exhibition catalogue) Bonn: Bonner Kunstverein, 1993: p. 21, 72-73, 151

Der zerbrochene Spiegel: Positionen zur Malerei.(exhibition catalogue) Vienna/Hamburg: Kunsthallen Vienna/Deichtorhallen, 1993: p. 154-157, 216-217

1992

Des Dessins: pour les élèves du centre des deux Thielles, Le Landeron.(exhibition catalogue) Le Landeron: Agence Schneider, 1992: p. 57-59

Ars Pro Domo: Zeitgenössische Kunst aus Kölner Privatbesitz.(exhibition catalogue) Cologne: Die Gesellschaft für Moderne Kunst am Museum Ludwig, 1992: p. 142-145

De Opening.(exhibition catalogue) Tilburg: De Pont Stichting, 1992: p. 66-69

Art for ASAP: Kunstmanifestatie voor Aids Preventie.(exhibition catalogue) Hapert/Eindhoven: Kempen Pers, 1992: p. 124

Brain, Internal affairs: encyclopedie van het AHHA moment.(exhibition catalogue) Gorinchem:Beatrixziekenhuis, 1992: p. [n.p.]

Documenta IX.(exhibition catalogue) Stuttgart/New York: Edition Cantz/Harry N. Abrams, 1992: p. Vol. I 138, Vol. II 138-140

1991

The Interrupted Life.(exhibition catalogue) New York: The New Museum of Contemporary Art, 1991

Inscapes.(exhibition catalogue) Amsterdam: De Appel, 1991: p. [n.p.]

De woorden en de beelden: tekst en beeld in de kunst van de twintigste eeuw = The Words and the Images: Text and Image in the art of the Twentieth Century. (exhibition catalogue) Utrecht: Centraal Museum, 1991

Individu: Duiding, Verboden Verbindingen + Twijfelachtige Verbanden: Marlene Dumas, Christine & Irene Hohenbüchler, Annemie van Kerckhoven, Ria Pacquee.(exhibition catalogue) Antwerp: Ministerie van de Vlaamse Gemeenschap, 1991

De Dialoog 2.(exhibition catalogue) The Hague: Haagse Kunstkring, 1991

1990

Zelfportretten.(exhibition catalogue) Haarlem: Galerie Tanya Rumpff, 1990: p. 5
Inconsolable: an exhibition about painting.(exhibition catalogue) New York: Louver Gallery, 1990: p. 16-17, 31

1989

De Automatische Verbeelding: Nederlandse Surrealisten.(exhibition catalogue) Amsterdam: Meulenhoff/Landshoff, 1989: p. 101, 112

Prospect 89: Eine internationale Ausstellung aktueller Kunst.(exhibition catalogue) Frankfurt: Frankfurter Kunstverein, 1989: p. 59-61

6 Dutch artists: Marlene Dumas, Rob Scholte, Han Schuil, Alexander Schabracq, Peer Veneman, Henk Visch. (exhibition catalogue) Edinburgh: The Fruitmarket Gallery, 1989

Bilderstreit, Widerspruch, Einheit und Fragment in der Kunst seit 1960.(exhibition catalogue) Cologne: Dumont/Rheinhallen der Kolnermesse in co-operation with Museum Ludwig, Cologne, 1989

30 Anni di Disegni.(exhibition catalogue) Amsterdam: Stedelijk Museum, 1989: p. 60

1988

Amsterdam art, présenté à l’Institut Néerlandais Paris. Regards: dessins contemporains.(exhibition catalogue) Amsterdam: Stedelijk Museum, 1988: p. 66, 91

Nightfire.(exhibition catalogue) Amsterdam: Foundation De Appel, 1988: p. 25

1987

Amsterdam ’87: Jaarboek Beeldende Kunst.(exhibition catalogue) Amsterdam: Museum Fodor/Meulenhoff/Landshoff, 1987: p. 59-61

The Meaning of Drawing: tekeningen van tien Nederlandse kunstenaars/Drawings by Ten Dutch Artists / Zeichnungen zehn niederländischer Künstler/Dessins de dix artistes néerlandais.(exhibition catalogue) Amsterdam/The Hague: Rijksdienst Beeldende Kunst/Netherlands Office for Fine Art, 1987

Century 87: Kunst van nu Ontmoet Amsterdams Verleden / Today’s Art Face to Face with Amsterdam’s Past.(exhibition catalogue) Amsterdam: Stichting Onafhankelijk KunsthistorischOnderzoek/Amsterdams Historisch Museum, 1987: p. 110-111 [including viewmaster and 5 image cards]

Hollands Landschap / Le Paysage Hollandais.(exhibition catalogue) Amsterdam: Museum Overholland, 1987

Art from Europe.(exhibition catalogue) London: Tate Gallery, 1987: p. 9-10, 27-29, 46

A priori tekenen = a priori drawing.(exhibition catalogue) Amsterdam: Stichting Makkom, 1987: p. 135-136, 165

1986

Innovation und Tradition: Niederländische Kunst der achtziger Jahre / Vernieuwing en traditie: Nederlandse kunst van de jaren tachtig.(exhibition catalogue) Karlsruhe: Badischer Kunstverein, 1986: p. 71-93

Zeven kunstenaars.(exhibition catalogue) Leiden: Academisch Ziekenhuis en Medische Faculteit, Bureau Voorlichting en Public Relations, 1986: p. 10-13

Six plasticiens contemporains des Pays-Bas: Ansuya Blom, René Daniëls, Marlene Dumas, Niek Kemps, René van den Broek, Henk Visch.(exhibition catalogue) Villeneuve-d’Ascq: Musée d’Art Moderne, 1986

1985

18.a Bienal Internacional de São Paulo: Catálogo Geral.(exhibition catalogue) São Paulo: Fundação Bienal de São Paulo, 1985: p. 78

Wat Amsterdam betreft / As Far As Amsterdam Goes.(exhibition catalogue) Amsterdam: Stedelijk Museum, 1985: p. 26-27

Vijftien kunstenaars.(exhibition catalogue) Eindhoven: Lecturis, 1985: p. 20-23
Rene Daniëls, Marlene Dumas, Henk Visch.(exhibition catalogue) Krefeld: Galerie Barbara Jandrig, 1985: p. 7-10

Het Avondmaal.(exhibition catalogue) Leeuwarden: Stichting Alde Fryske Tjerken Fryske Kultuerried, 1985: p. 22-25

Original d’Amsterdam: exposició d’art contemporani Holandès.(exhibition catalogue) Barcelona: Departament de Cultura de la Generalitat de Catalunya/Centre Cultural de la Caixa de Pensions, 1985: p. 22, 38

Interviews

2022

Danny Ilegems. ‘Marlene Dumas opent het kunstseizoen in Venetië: ‘Ik zag eerlijk gezegd op tegen deze tentoonstelling’’.De Morgen, 26 March 2022: p. 15-16 (online)

Sander Becker. ‘Marlene Dumas over Bouazza’s zwanenzang voor zijn zielsverwant Baudelaire: ‘Je kunt ook dronken zijn van schoonheid, van kunst’’.Trouw, 24 May 2022: p. 10-11 (online)

2021

Mieke Bal. ‘Ambiguity is Munch’s Middle Name. Marlene Dumas interviewed by Mieke Bal’.Living Lines. Five Contemporary Artists on Edvard Munch’s Drawings, Oslo: Munch Museum, 2021: p. 13-24

2020

Matthias De Groof. ‘My Pauline and your Patrice. Marlene Dumas and Luc Tuymans, interviewed by Matthias de Groof’.Lumumba in the Arts, Leuven: Leuven University Press, 2020: p. 361-372

Koen Van Boxem. ‘‘Zacht en gevaarlijk. Gelijktijdig’: Marlene Dumas over haar nieuwe expo in Antwerpen’.De Tijd, 23 May 2020: p. 41-43 (online)

Danny Ilegems. ‘Leve de legende: kunstenares Marlene Dumas komt naar Antwerpen’.Humo, vol. 4160, no. 22 (26 May 2020): p. 132-137

Jeroen Laureyns. ‘Liefde is de oorsprong van de schilderkunst. Een e-mailinterview tussen Marlene Dumas en Jeroen Laureyns’.Hart, no. 204 (16 June 2020): p. 12-19

2019

Ron Kosterman. ”Ik sta de hele tijd open voor toeval”.Elsevier(11 November 2019): p. 32-36

Hilton Als. ‘Being Marlene Dumas. Up Close and Personal with the Artist Marlene Dumas’.Interview Magazine, no. 529 (Winter 2019): p. 120-125

Vincent Bongers. ‘Ik neem mezelf als proefkonijn’.Mare – Leids Universitair Weekblad, 5 December 2019: p. 6-7 (online)

2018

Robert Enright, Meeka Walsh. ‘The Worth of Living and Loving: An Interview with Marlene Dumas’.Border Crossings, no. 147 (August 2018): p. 30-43

Jan Haerynck. ”Wat is er mooier dan een boek met plaatjes?”.HP De Tijd(2018): p. 118-125

Hans Ulrich Obrist, Virgil Abloh. ‘”Things fall together and you could maybe call it grace”‘.032c, no. 35 (2018): p. 114-123 [Winter 2018/19]

2017

Roos Menkhorst. ”Soms zit ik zo vast”.Trouw, 25 March 2017: p. 32-36

2016

Takuhito Kawashima. ‘It all started with darkness: interview with Marlene Dumas’.Studio Voice, no. 409 (2016): p. 122-125

2015

Elke Buhr. ‘Der Körper wird unfrei’.Monopol, no. 5 (May 2015): p. 66-73

Andrea Büttner, Jennifer Higgie. ‘Marlene Dumas: The Image as Burden – To Show or Not to Show’.Tate etc.(2015): p. 46-61

Marc Ruyters. ‘”Ik werd kunstenaar om wijs te worden”‘.Universiteit Antwerpen (March 2015): p. 20-24

Rachel Cooke. ‘The daring Art of Marlene Dumas: Duct-tape, Pot Bellies and Bin Laden’.The Guardian, 11 January 2015 [also published as: Rachel Cooke. ‘Every time I think: I don’t know if I know how to make a painting’. The Observer, 11-01-2015: p. 16-19]

Gaby Wood. ‘Marlene Dumas interview: ‘Retrospectives are not very good for you”.The Telegraph, 7 February 2015 (online)

Pieterjan Huyghebaert. ”Als je niet met jezelf worstelt, ben je een slechte kunstenaar”.Deredactie.be, 31 March 2015 (online)

Christina Ruiz. ‘‘All art is essentially a Rorschach test’’.The Art Newspaper, 17 June 2015: p. 6 (online)

Christine Meffert. ‘Die Vorbilder einer großen Malerin’.Zeit Magazin, no. 35, 27 August 2015: p. 16-21

2014

Theodora Vischer. ‘A Conversation Between Marlene Dumas and Theodora Vischer / Een gesprek tussen Marlene Dumas en Theodora Vischer / Gespräch zwischen Marlene Dumas und Theodora Vischer’.Marlene Dumas: The Image as Burden(exhibition catalogue), London: Tate Publishing, 2014: p. 167-174

Femke van Wiggen. ‘Marlene Dumas: ‘Iemand die gevaar loopt door wat ze maakt, die is pas moedig”.Opzij, vol. 42, no. 7/8 (July-August 2014): p. 68-74

Claire Messud. ‘Square Roots. Social Studies: Marlene Dumas’.The New York Times (T Magazine)(20 August 2014): p. 246-251

Ronald Ockhuysen. ‘Marlene Dumas: ‘Pas in Amsterdam begon ik ideeën te ontwikkelen over mijn eigen kunst”.Het Parool, 4 September 2014 (online)

2012

Martin Herbert. ‘Marlene Dumas’.ArtReview, no. 61 (September 2012): p. 88-93
Sander Pleij. ‘Je kunt de dood niet schilderen’.Vrij Nederland Mediagids(27 November 2012)

2009

Marie-Pierre Nakamura. ‘Marlene Dumas: ‘En fait, je peins la condition humaine”.Art Actuel(March-April 2009)

Hugo J. Postma. ‘We hebben enorm zitten schuiven’.De Groene Amsterdammer, vol. 133, no. 5 (30 January 2009): p. 42-45

Sandra Smallenberg. ‘Ik ben abstracter dan je denkt’.NRC Handelsblad (Cultureel Supplement), 2 February 2009: p. 10-11

Magdalena Kröner. ‘Die größte Blöße’.Monopol(2 April 2009): p. 51-61

2008

Rurger Pontzen. ‘Marlene Dumas: ‘Het lijkt alsof ik altijd moeilijk doe. Ik wil zeggen dat ik besta”.de Volkskrant, 12 June 2008: p. 1-3

Shana Nys Dambrot. ‘Interview with Marlene Dumas’.Artkrush.com Newsletter, no. 88, 9 July 2008 (online)

Jan van Hove. ”Ik gooi het er graag uit”.De Standaard, 10 September 2008: p. F4-5

Hans Theys. ‘Over glazen tranen en grondig vergaan’.Hart, no. 40 (11 September 2008): p. 3

Hugo J. Postma. ‘Met Osama naar New York’.Het Financieele Dagblad (Persoonlijk), 20 December 2008: p. 14-15

2007

Yuko Hasegawa. ‘Interview with Marlene Dumas’.Broken White(exhibition catalogue), Marugame/Tokyo: Marugame Genichiro-Inokuma Museum of Contemporary Art/Museum of Contemporary Art, 2007: p. 150-157

Maria Hlavajova, Rosi Braidotti. ‘Ik is een allochtoon: A Conversation with Marlene Dumas’.Citizens and Subjects: The Netherlands, for Example, Amsterdam: Mondriaan Stichting, 2007: p. 105-117

2006

‘The Finger and the Eye: A Conversation between Steve McQueen and Marlene Dumas’.Steve McQueen: Caresses, Marugame: MIMOCA, 2006: p. 16-21

Oliver Körner von Gustorf. ‘Mysterious Skin: An Encounter with Marlene Dumas / Geheimnisvolle Haut: Eine Begegnung mit Marlene Dumas’.Deutsche Bank Visuell(June 2006)

2005

Barbara Bloom. ‘Marlene Dumas’.Pressplay: contemporary artists in conversation, London/New York: Phaidon, 2005: p. 150-161

Massimiliano Gioni. ‘Marlene Dumas: ton visage demain / Your Face Tomorrow’.Art Press, no. 317 (November 2005): p. 32-38

2004

Robert Enright. ‘The Fearless Body: An Interview with Marlene Dumas’.Border Crossings, no. 91 (August 2004): p. 23-34

Danny Ilegems. ‘Nederland-België: De Kunst, Interview with Dumas and Luc Tuymans’.Dif: bookazine, vol. 2 (2004): p. 90-93

2001

Simona Vendrame. ‘Interview with Marlene Dumas’.Tema Celeste, no. 88 (November-December 2001): p. 46-51

2000

Pauline Burmann. ‘The Thread of the Story: Two South African Women Artists talk about their Work’.Research in African Literatures, vol. 31, no. 4 (Winter 2000): p. 155-165

Colet van der Ven. ‘Schilderes Marlene Dumas speelt met vrouwenbeelden: Veel mooie mensen weten niets van schoonheid’.Opzij, vol. 28, no. 7/8 (July-August 2000): p. 140-145

Ive Stevenheydens. ‘Confrontatie der begeerte’.De Tijd – Cultuur, 13 September 2000: p. 13

1999

Barbara Bloom. ‘Marlene Dumas’.Flash Art, vol. 23, no. 219 (December-January [2000] 1999): p. 56-59

1998

‘Emoties zijn geen maat voor kwaliteit’.De Humanist, vol. 53, no. 3 (1998): p. 12-17

Bernhard Balkenhol, Matthias Winzen. ‘Hart oder Weich: Ein Gespräch mit Marlene Dumas und Andries Botha / Hard or soft: a Conversation with Marlene Dumas and Andries Botha’.Damenwahl: Marlene Dumas und Andries Botha(exhibition catalogue), Kassel/Cologne: Kunstverein Kassel/Oktagon Verlag, 1998

Gavin Jantjes. ‘Marlene Dumas (Accepting Painting for what it is)’.A Fruitful Incoherence: Dialogues with Artists on Internationalism, London: Institute of International Visual Arts (Inivia), 1998: p. 48-63

Kathrin Luz. ‘Malerei ist ein Akt gegen den Tod’.Noëma, no. 46 (January-February 1998): p. 40-45

1997

Leontien Wegman. ‘Chaos is mijn talent: Interview met de kunstenares Marlene Dumas’.Elegance(November 1997): p. 113-117

1996

Ronald Berg. ‘Das Supermodel’.Zitty, no. 7 (1996)

Hanne Weskott. ‘Malerei is Reflexion: Ein Gespräch mit Marlene Dumas’.Artis, Zeitschrift für neue Kunst, vol. 48 (June-July 1996): p. 56-59

1994

‘Marlene Dumas’.Avenue box: The Untouchables (macht en onmacht van de veertigers), vol. 1, no. 2 (1994): p. 24-25

1992

Jan Braet. ‘Altijd mis’.KNACK(April 1992): p. 82-86

1990

Ella Reitsma. ”Als je geen keuzes maakt, faal je ook nooit. Je kunt altijd zeggen dat het ding niet af is.’ Beeld en betekenis in de kunst van Marlene Dumas’.Vrij Nederland [colour supplement](24 February 1990): p. 18-22

1985

Anna Tilroe. ‘Er moet weer ruimte komen voor illusies’.de Volkskrant, 26 July 1985: p. 13

1984

Riki Simons. ‘Marlene Dumas: ‘Tegenstellingen horen bij mij”.Avenue, vol. 19 (November 1984): p. 18-19

General Overviews and In-depth Analyses

2023

Richard Shiff. ‘Less Dead’.Writing after art: Essays on Modern and Contemporary Artists, New York: David Zwirner Books, 2023: p. 150-180, 633-635

2022

Charles Baudelaire.Le Spleen de Paris – Parijse walging – Paris Spleen.Amsterdam: Querido, 2022 [translated by Hafid Bouazza and Louise Varèse; illustrated by Marlene Dumas]

Dominic van den Boogerd. ‘Dominic van den Boogerd on Marlene Dumas’ Snow White in the Wrong Story’.20th Century & Contemporary Art Evening Sale New York Auction 15 November 2022, New York: Phillips (online)

Barbara De Coninck. ‘Nothing will ever be the same as before’.Hart-Magazine, no. 225 (June 2022)

Elisabeth Lebovici. ‘Ossessionat3 / Haunted / Hanté·e·s’.Marlene Dumas: open-end(exhibition catalogue), Venice: Palazzo Grassi, 2022

Tijs Goldschmidt. ‘Gevleugelde schaamte’.Wolven op het ruiterpad. Over mensen en andere roedeldieren, Amsterdam: Athenaeum-Polak & van Gennep, 2022: p. 153-159

Ashraf Jamal. ‘The Way Flesh Doubts’.Strange Cargo: Essays on Art, Milan/New York: Skira/Rizzoli, 2022: p. 500-511

Ulrich Loock. ‘L’origine della pittura / The Origin of Painting / L’origine de la peinture’.Marlene Dumas: open-end(exhibition catalogue), Venice: Palazzo Grassi, 2022

2021

Dominic van den Boogerd. ‘You’ve Got to Have Faith: Marlene Dumas’ Believer’.20th Century & Contemporary Art Evening Sale London 15 October 2021, London: Phillips (online) [Catalogue Essay on ‘The Believer’]

Jonny Costantino. ‘Marlene Dumas e la pelle’.La Mano Bruciata: Rubbettino Editore, 2021: p. 89-112

Theodora Vischer. ”Many different ladies interact’. On the Portrait Painting of Marlene Dumas’.Close-Up, Riehen/Basel/Berlin: Fondation Beyeler/Hatje Cantz Verlag, 2021: p. 176-184

2020

Marlene Dumas. Ansichten (Heft 19), Riehen/Basel: Beyeler Museum, 2020

‘Marlene Dumas’.Luncheon: a cultural serving, no. 10 (2020): p. 8, 96-123

Dominic van den Boogerd. ‘Marlene Dumas and the Male Nude’.20th Century & Contemporary Art Evening Sale London Auction 13 February 2020, London: Phillips (online) [Catalogue Essay on ‘Chained to the Bed for Fifteen Years’]

Tamar Garb. ‘Painting. Politics. Photography: Marlene Dumas, Mme Lumumba and the Image of the African Woman’.Art History, vol. 43, no. 3 (2020): p. 588-611

Joke Hermsen. ‘De Muze is uitgeput, en gaat aan de slag. Over Marlene Dumas, Sofokles’ Antigone’.Ogenblik & Eeuwigheid. Meer tijd voor de kunst, Amsterdam: Arbeiderspers, 2020: p. 77-94

Catherine Kennedy, Francois Lion-Cachet, Thina Miya.Art & Justice: A Constitutional Court Art Collection Series – Marlene Dumas. The Benefit of the Doubt.Johannesburg: Constitutional Court Trust/Constitutional Court Art Collection, 2020

Timea Andrea Lelik.Representations of Irrepresentability: The Painted Portrait in the Twentieth-Century in the Works of Edvard Munch, Francis Bacon, and Marlene Dumas.(dissertation) S.L.: S.N, 2020 [dissertation Universiteit van Amsterdam]

Michele Robecchi, Franscesca Bonazzoli. ‘Lives on the Fringes. The Neighbour’.Portraits Unmasked. The Stories behind the Faces, Munich: Prestel, 2020: p. 118-121

Wieteke van Zeil. ‘Dumas laat met haar Black Drawings zien hoe makkelijk we generaliseren en details uit het oog verliezen’.de Volkskrant, 12 June 2020 (online)

2019

Essemie van Dunné. ‘Avondmaal’.idA (in dit Amsterdam): maandblad van Doopsgezind Amsterdam, vol. 58, no. 3 (March 2019): p. 3

Timea Andrea Lelik. ‘Portraying the Icon: Unmasking the Image of the Cultural Model in the Work of Marlene Dumas’.Widok(2019): p. 1-20

Kristin Marek. ‘Die Leichenhaftigkeit des Bildes. Blanchot und die Malerei’. Blanchot und das Bild. Begriffe und Bilder nach Maurice Blanchot, Paderborn: Wilhelm Fink Verlag, 2019: p. 169-192

Claire Messud. ‘Open’.Marlene Dumas: Myths & Mortals(exhibition catalogue), New York: David Zwirner Books, 2019: p. 104-118

Wessel Stoker.God opnieuw verbeeld: een theologische kunstbeschouwing.Almere: Parthenon, 2019

‘‘Ik stuurde haar gewoon een mailʼ: Theo dʼOr-winnaar Romana Vrede krijgt portret door Marlene Dumas’. de Volkskrant, 30 May 2019 (online)

2018

Mieke Bal, Jeroen Lutters. ‘Travelling Concepts in the Humanities’.The Trade of the Teacher: Visual Thinking with Mieke Bal, Amsterdam: Valiz, 2018: p. 79-112

Carel Blotkamp. ‘Marlene Dumas’.Blikseminslag: Stukjes over kunst, 2018: p. 132-135

Dominic van den Boogerd. ‘The Uncertainty of Portraiture’.20th Century & Contemporary Art Evening Sale, London Auction 8 March 2018, London: Phillips (online) [Catalogue Essay on ‘The Pilgrim’]

Dominic van den Boogerd. ‘My pleasure, your delight: Marlene Dumas and the p*rnographic imagination’. Great Temptations. The seduction of painting, Amsterdam: Roma Publications, 2018: p. 206-217

Octavia Bright. ‘Marlene’s Sweet Nothings’.Orlando Magazine, no. 3 (November 2018): p. 14-17

Terry van Druten. ‘Van Hogedrukketel tot Dumas: 240 jaar verzamelen’.Teylers magazijn, no. 134 (Spring 2018): p. 14-18

Marlene Dumas. ‘See All these Women’.See All This (99 Geniale Vrouwen in de Kunst), vol. 3, no. 10 (Summer 2018)

Alex Katz.Looking at Art with Alex Katz.London: Laurence King Publishing, 2018

Liz Rideal, Kathleen Soriano.Madam & Eve: Women Portraying Women.London: Laurence King Publishing, 2018: p. 110

Richard Shiff, Robert Storr, David Zwirner.David Zwirner: 25 years.New York: David Zwirner Books, 2018

2017

‘Venus mourns America’.Art in America, no. 812 (June-July 2017): p. 12, cover

Zeno X Gallery. Antwerp 35.Antwerp: Zeno X, 2017

Mieke Bal.Emma and Edvard Looking Sideways: Loneliness and the Cinematic.Oslo/Brussels: Munch Museum/Mercatorfonds, 2017: p. 186

Katarzyna Bojarska, Paweł Mościcki. ‘Mother (Matka)’.View. Theories and Practices of Visual Culture (Widok. Teorie i praktyki kultury wizualnej), no. 19 (2017)

Tamar Garb. ‘The Saturated Image / Das gesättigte Bild’.Parkett: Expanded Exchange, no. 100/101 (December 2017): p. 170-197

Maria Hlavajova. ‘Power and Truth (after the Internet): Marlene Dumas, Young Men (Man Kind)’.Former West: The Contemporary after 1989, Utrecht/Cambridge (MA): BAK, basis voor actuele kunst/The MIT Press, 2017: p. 461-466, 712

Jean-Claude Lebensztejn.Pissing Figures 1280–2014.New York: David Zwirner Books, 2017: p. 68, 162

Timea Andrea Lelik. ‘To Model or not to Model Transgressive portraits of Mary Magdalene by Marlene

Dumas’.Journal of the Lucas Graduate Conference, vol. 05 (2017): p. 63-85
Bernhard Maaz, Judith Csiki, Nadine; Engel, Simone Förster.Sammlung Moderne Kunst Pinakothek der Moderne München.Munich: Deutscher Kunstverlag, 2017: p. 22

Michiel Morel. ‘De vrouwenliefhebber van Marlene Dumas’.Breekijzer op het geheugen, Den Haag: Uitgeverij de Zwaluw, 2017: p. 14-20

Griselda Pollock. ‘The missing wit(h)ness: Monroe, fascinance and the unguarded intimacy of being dead’.

Journal of Visual Art Practice, vol. 16, no. 3 (2017): p. 265-296
Joke Caesbroeck. ‘Het Beeld: Waiting (for meaning)’.De Standaard, 14 October 2017: p. C2

2016

Dominic van den Boogerd. ‘Eros, dood en verlangen in het werk van Marlene Dumas’.Figura Divina. Maar zie, ik heb lief! Eros in kunst en religie, Zoetermeer: Uitgeverij Meinema, 2016: p. 23-32

Onno Zijlstra, Wendy Janssen. ‘Het Sublieme: Dumas en Lyotard’.Reflecties: 25 kunstwerken 24 filosofen, Budel: Damon, 2016: p. 174-181

Rainald Schumacher. ‘Marlene Dumas’.Flash Art, 15 November 2016 (online)

2015

Sylvia Grevel. ‘Verzoeking, verdenking en vertrouwen – De waarheid van Marlene Dumas’.Speling: Tijdschrift voor bezinning (Moed tot Waarheid), vol. 67, no. 3 (September 2015): p. 40-46

Marielle Hendriks. ‘Een natuurlijke empathie voor medemensen: Marlene Dumas portretteert psychiatrische cliënten’.Boekman, vol. 27, no. 104 (Autumn 2015): p. 12-15

Christine Meffert. ‘Of Men and Muses’.Zeit Magazine: The Berlin State of Mind, no. 2 (Fall-Winter 2015): p. 152-159

Sebastian Preuss. ‘Die letzte Muse: Jule Kewenig und die Postmoderne’. Weltkunst, no. 105 (September 2015): p. 22-35

Susie Rushton. ‘Queen of the Canvas’.Vogue UK(February 2015): p. 164-169

Joost Zwagerman. ‘De verlangenmachine. Leven en dood bij James Ensor en Marlene Dumas’.De stilte van het licht. Schoonheid en onbehagen in de kunst, Amsterdam: De Arbeiderspers, 2015: p. 271-278

Colm Tóibín. ‘My Highlight: Marlene Dumas’.The Guardian, 31 January 2015: p. 6

Anna van Leeuwen. ‘Excusez la muse’.de Volkskrant, 12 June 2015: p. V2-V3

Maren Lübbke-Tidow. ‘Marlene Dumas – Love Stories with Politics’. Kunstbulletin, no. 7-8 (July-August 2015): p. 46-55

2014

Marie-Claire van Bracht. ‘Nederland en Zuid-Afrika in de kunst van Marlene Dumas’.Maandblad Zuid-Afrika(December 2014): p. 230-231

Leontine Coelewij. ‘Love versus Death: Vroege collages van Marlene Dumas / Love versus Death: Early collages by Marlene Dumas / Love versus Death: Frühe Collagen von Marlene Dumas’.Marlene Dumas: The Image as Burden(exhibition catalogue), London: Tate Publishing, 2014: p. 19-27

Jeroen Hopster. ‘Roem, Tragiek en Verloren Onschuld’.Kunstbeeld, vol. 38, no. 9 (2014): p. 13, 64-71

Cristina Ruiz. ‘Inside the Studio of the World’s most expensive female Painter’. The Gentlewoman, no. 10 (Autumn-Winter 2014): p. 202-212

David Stroband. ‘Visualiser sans tout dévoiler: Marlene Dumas’.Septentrion, vol. 43, no. 3 (2014): p. 85-88

‘Gastredacteur kunstenaar Marlene Dumas’.NRC Handelsblad (Deluxe), no. 18 (May 2014): p. 11-65

‘The Making of Marlene Dumas’s ‘The Widow”.The New York Times (T Magazine), 20 August 2014

Hilda Bouma. ‘Spelen met Marlene’.Het Financieele Dagblad (Persoonlijk), 30 August 2014: p. 34-37

2013

Arjan Reinders. ‘De Ongrijpbare Dumas’.Kunstbeeld, vol. 37, no. 6 (2013)
Marina de Vries. ‘Saskia van Imhoff combineert intelligentie met materie: Saskia Noor van Imhoff (31) voorgedragen door beeldend kunstenaar Marlene Dumas’.de Volkskrant, 8 March 2013

G. van der Haar. ‘Marlene Dumas Jesus’.Liter. Literair Tijdschrift, vol. 16, no. 70 (June 2013): p. 28-29

2012

Jo Craven. ‘I Died a Hundred Times’.Art Quarterly(Winter 2012): p. 40-43

Bianca Stigter.Johannes Vermeer Prijs 2012: Marlene Dumas, Acheiropoietos – Cheiropoietos.Amsterdam: Boekmanstichting, 2012

Karin Aalberts. ‘Vandaag. Interview Leontine Coelewij, Curator’.de Volkskrant, 13 September 2012: p. V22

Rutger Pontzen, Nell Westerlaken. ‘Marlene Dumas krijgt de Johannes Vermeer Prijs. En wel hierom. Dumas’ mooiste’.de Volkskrant, 26 October 2012 (online)

2011

Jim Brown, Gary Burns.The Future Is Now!.(video) Alberta: BFL, Future Inc. (2011)

Sylvia Grevel. ‘Marlene Dumas’ touching Brush’.Visual Art and Feminist Theology, vol. 19 (2011)

Hans den Hartog Jager, Pieter Steinz. ‘Marlene Dumas: The Neighbour’.Verleden in verf: De Nederlandse geschiedenis in veertig schilderijen, Amsterdam: Athenaeum-Polak & Van Gennep, 2011: p. 255-260

Ulrich Loock. ‘A Sense of Touching: Marlene Dumas’.Cura, no. 9 (September 2011): p. 72-85

Joost Zwagerman. ”Je moet een beetje bang zijn voor wat je zelf maakt.’ In gesprek met Marlene Dumas’.Alles is gekleurd: omzwervingen in de kunst, Amsterdam: De Arbeiderspers, 2011: p. 121-130

M. Bolwijn. ”Dan kruip je onder de huid”.de Volkskrant, 28 January 2011

Wietke van Zeil. ‘Osama – Het Masker van Het Kwaad’.De Morgen, 5 May 2011: p. 10 Rudi Fuchs. ‘Brutale borelingen’.De Groene Amsterdammer, 14 December 2011 (online)

2010

Modern Women: Women artists at the Museum of Modern Art.New York: Museum of Modern Art (MoMA), 2010: p. 20, 23, 25, 77

Chris Dercon. ‘A Few Notes on the Exhibition Tronies’.Tronies: Marlene Dumas and the Old Masters(exhibition catalogue), Munich: Richter Verlag, 2010: p. 4-9

Rudy Hodel. ‘‘For Whom the Bell Tolls’ Marlene Dumas and South Africa ‘.The Low Countries. Art and Society in Flanders and the Netherlands, vol. 18 (2010): p. 66-73

Jenn Joy. ‘Marlene Dumas: Measuring your own Grave’.Studies in Gender and Sexuality, vol. 11, no. 4 (October-December 2010): p. 205-210

Torsten Krämer.Thema Kunst Sekundarstufe II. Porträtmalerie: Werkbetrachtungen von der Antike bis zur Gegenwart.Stuttgart: Klett, 2010

León Krempel. ‘Sappho’s backward Glance’.Tronies: Marlene Dumas and the Old Masters(exhibition catalogue), Munich: Richter Verlag, 2010: p. 10-28

Ulrich Loock. ‘The Painter’s Touch’.Contra o Muro: Marlene Dumas 2010 (exhibition catalogue), Porto: Serralves Museum, 2010: p. 10–19

Leora Maltz-Leca. ‘Close-Up: Body of Evidence – Leora Maltz on Marlene Dumas’s Liberty’.Artforum, vol. 49, no. 3 (November 2010): p. 238-241, 282

Judith Ornstein. ‘Rendering Relations. Figuring Paint: The Work of Marlene Dumas in Measuring Your Own Grave’.Studies in Gender and Sexuality, vol. 11, no. 4 (October-December 2010): p. 211-219

Carolyn Parton. ‘Extended traces: Tracking the Impact of Painter upon Environment’.De Arte, vol. 45, no. 81 (2010): p. 23-42

Domeniek Ruyters. ‘Politicus of Ambtenaar?’.Metropolis M, no. 3 (2010): p. 20-24

Phoebe Hoban. ‘Portraits: Alice Neel’s Legacy of Realism’.The New York Times, 25 May 2010: p. 20

2009

Kentridge & Dumas in Conversation.(video) Johannesburg: Jason Hoff voor Pulp Films (2009)

Ilaria Bonacossa. ‘Further than the ‘I’ Can See’.Marlene Dumas, London: Phaidon Press, 2009: p. 160-215

Dominic van den Boogerd. ‘Hang-ups and Hangovers in Work of Marlene Dumas’.Marlene Dumas, London: Phaidon, 2009: p. 31-83

Jan Hoet. ‘Geen dag zonder / No Day Without’.Tableau: Fine Arts Magazine (December-January [2010] 2009): p. 68

2008

Cornelia Butler. ‘Painter as a Witness’.Marlene Dumas: Measuring your own Grave(exhibition catalogue), Los Angeles/New York: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 42-74

Suzanna Hémann, Rixt Hulshoff Poll. ‘Vragen aan Marlene Dumas’.Eerste hulp bij tekeningen, Amsterdam: Stedelijk Museum, 2008: p. 39-43

Virginia MacKenny. ‘Anxious Surfaces’.Art South Africa, vol. 6, no. 3 (Autumn 2008): p. 48-52

Lisa Gabrielle Mark. ‘The Binding Factor: The Maternal Gaze of Marlene Dumas’.Marlene Dumas: Measuring your own Grave(exhibition catalogue), Los Angeles/New York: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 200-217

Matthew Monahan. ‘Victoria Falls (for M.D.)’.Marlene Dumas: Measuring your own Grave(exhibition catalogue), Los Angeles/New York: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 248-258

Robbert Roos. ‘La melancholie, de partir, mourir’.Kunstbeeld, vol. 32, no. 7/8 (2008): p. 24-49

Richard Shiff. ‘Less Dead’.Marlene Dumas: Measuring your own Grave(exhibition catalogue), Los

Angeles/New York: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 144-175

2007

Citizens and Subjects: The Netherlands, for Example.Amsterdam: Mondriaan Stichting, 2007

Dominic van den Boogerd. ‘Lyrics for Sister Sledge’.Sister Sledge(exhibition catalogue), Sigean: Lieu d’Art Contemporain, 2007

Marlene van Niekerk. ‘Mass for The Painter’.Marlene Dumas: Intimate Relations (exhibition catalogue), Amsterdam/Johannesburg: Roma Publications/Jacana Media, 2007: p. 111-124

Kerstin Mey.Art & Obscenity.London: I.B. Taurus, 2007: p. 86-96

Claire Stoullig, Florian Rodari, Claude Schweisguth.Invention et transgression, le dessin au XXe siècle.Paris/Besançon: Co-édition Centre Pompidou/Musée des beaux-arts et d’archéologie de Besançon, 2007: p. 117

Yuka Uematsu. ‘Broken White’.Broken White(exhibition catalogue), Marugame/Tokyo: Marugame Genichiro-Inokuma Museum of Contemporary Art/Museum of Contemporary Art, 2007: p. 142-145

Tom Rooduijn. ”Ik schilder het kwaad”.HP/De Tijd(12 January 2007): p. 45-51

2006

Carel H. Blotkamp. ‘Marlene Dumas: een tekening over betekenis’.Kunstlicht, vol. 27, no. 2/3 (2006): p. 46-49

Bert Jansen. ‘Marlene Dumas: De getuige als regisseur’.Jong Holland, vol. 22, no. 1 (2006): p. 19-21, 60

Rutger Pontzen. ‘Wie of wat wordt hier nu gepromoot?’.de Volkskrant, 25 February 2006

2005

Ernst van Alphen. ‘Facing Defacement’.Art in Mind: How contemporary Images shape Thought, Chicago: The University of Chicago Press, 2005: p. 140-160

Johanna Burton. ‘Marlene Dumas’.Vitamin D: New Perspectives in Drawing, London: Phaidon Press, 2005: p. 82-85

Marlene van Niekerk. ‘Seven M-blems for Marlene Dumas’.Marlene Dumas: Selected Works(exhibition catalogue), New York: Zwirner & Wirth, 2005: p. 5-22

W.P. ‘Lessons in Ambiguity: A haunting Blend of Nostalgia and Anonymity’.Christie’s Magazine(January-February 2005): p. 48-49

Matthias Winzen. ‘A Portrait of the Artist as a Young Woman’.Marlene Dumas: Female(exhibition catalogue), Cologne: Snoeck, 2005: p. 36

Thomas Wulffen. ‘Nach dem Rundgang: Notizen zu Künstlern’.Kunstforum International, no. 177 (September-October 2005): p. 476-477

Edzard Mik. ”We leven. We hebben geen keus’. Ras-twijfelaar Marlene Dumas over het verval van betekenis’.Vrij Nederland, vol. 66, no. 4 (29 January 2005): p. 64-67

Marina de Vries. ‘Onuitputtelijke poel van inspiratie’.de Volkskrant, 16 July 2005

2004

Emma Bedford.Marlene Dumas. 10 Years 100 Artists: Art in a Democratic South Africa, Cape Town: Bell-Roberts Publishing & Struik, 2004: p. 98-101

Dominic van den Boogerd, Elly Reurslag, Nancy Forest-Flier.Blue Tuesday: De Ateliers 1963-2003.Amsterdam: Stichting Ateliers ’63, 2004

Hans den Hartog Jager. ‘Marlene Dumas’.Verf: Hedendaagse Nederlandse Schilders Over Hun Werk, Amsterdam: Athenaeum-Polak & Van Gennep, 2004: p. 107-122

Ena Jansen. ‘Spiegelschrift en Sneeuwwitje in Anti-Apartheid Nederland’.Kunsten in beweging 1980-2000. Cultuur en migratie in Nederland, Amsterdam: SdU uitgevers, 2004: p. 59-76

2003

Jean-Christophe Ammann. ‘Marlene Dumas: tender, loathsome, shrewd and ecstatic / Zärtlich, verrückt, hellsichtig und ekstatisch’.Marlene Dumas: Wet Dreams – Watercolors(exhibition catalogue), Ravensburg: Städtische Galerie Ravensburg/Hatje Cantz, 2003: p. 110-117

Jan Andriesse. ‘Paint is matter and paint matters (on how she does it)’.Suspect (exhibition catalogue), Milan/London: Skira/Thames and Hudson, 2003

Thomas Knubben. ‘An irresponsible Affair / Eine zwanglose Affäre’.Marlene Dumas: Wet Dreams – Watercolors(exhibition catalogue), Ravensburg: Städtische Galerie Ravensburg/Hatje Cantz, 2003: p. 6-11

Tilman Osterwold. ‘Water-colors as Physiognomies / Wasserfarben und Bildphysiognomien’.Marlene Dumas: Wet Dreams – Watercolors(exhibition catalogue), Ravensburg: Städtische Galerie Ravensburg/Hatje Cantz, 2003: p. 12-43

Matthias Winzen. ‘Sensitive Surfaces, Clear Thinking. The Work of Marlene Dumas’.(In search of) the perfect lover(exhibition catalogue), Ostfildern: Hatje Cantz, 2003: p. 60-71

2002

Ghada Amer. ‘Nine Painters: An On-the-Page Installation ‘.Modern Painters, vol. 15 (Summer 2002): p. 70-79

Benjamin Loyaute. ‘Que collectionnent-ils?’.Connaissance des Arts, no. 594 (May 2002): p. 29

2001

Jessica Morgan. ‘Open to Interpretation’.Marlene Dumas: One Hundred Models and Endless Rejects(exhibition catalogue), Boston/Ostfildern: Institute of Contemporary Art/Hatje Cantz Verlag, 2001: p. 11-23

Wendy Steiner.Venus in Exile: The Rejection of Beauty in 20th-Century Art.New York: Free Press, 2001: p. [passim]

Jonas Storsve. ‘Heureuse qui comme …. / Good Lady, you have that pleasure in exile’.Name no Names(exhibition catalogue), Paris: Centre Pompidou, 2001: p. 5-27

Jeremy Baskin. ‘Art of the Constitution’.Mail & Guardian, 5 April 2001: p. 4

Adéle Nel. ‘Die kleur van vers en verf: Antjie Krog in gesprek met Marlene Dumas’.Literator: Journal of Literary Criticism, Comparative Linguistics and Literary Studies / Tydskrif vir besondere en vergelykende taal- en literatuurstudie, vol. 22, no. 3 (November 2001): p. 21-38

2000

Maria de Corral, Danilo Eccher, Umberto Eco, et al.L’Ombra della Ragione: L’Idea del Sacro nell’identità Europea nel XX Secolo / Shadow of Reason: Exploring the Spiritual in European Identity in the 20th Century.Milan: Charta, 2000: p. 146-155

Mary-Rose Hendrikse. ‘Beyond Possession: Marlene Dumas and the mobilisation of subject, paint and meaning’.De Arte, vol. 35, no. 62 (September 2000): p. 3-19

1999

Ernst van Alphen. ‘Colonialism as Historical Trauma’.Grey Areas: Representation, Identity, and Politics in Contemporary South African Art, Rivonia-Johannesburg: Chalkham Hill Press, 1999: p. 269-281

Dominic van den Boogerd. ‘My Pleasure, Your Delight’.Marlene Dumas: MD (exhibition catalogue), Antwerp/London/Høvikodden: MUKHA/Camden Arts Centre/Henie Onstad Kunstsenter, 1999: p. 28-35

Catherine Flohic. ‘Marlene Dumas’.Eighty magazine. Ninety – Art des années 90 / Art in the 90s, no. 32 (1999): p. 10-40

Birgit Haehnel. ‘Skin / Deep: Unterschiedliche Perspektiven in der Repräsentation schwarzer und weisser Frauenbilder in der Zeitgenössischen Kunst’.Kritische Berichte, no. 4 (1999): p. 64-83

Joke J. Hermsen. ‘Unheimlich mooi: over (ge)weldadige kunst (Armando, Dumas, Heidegger)’.Tirade, vol. 43, no. 381 (October 1999): p. 336-351

Gavin Jantjes. ‘Mapping Difference’.Views of Difference: Different Views of Art, New Haven: Yale University Press in association with the Open University Press, 1999: p. 34

Letizia Ragaglia. ‘Marlene Dumas’.Pathologiae: sechs Frauen – ein Zufall . sei donne per caso(exhibition catalogue), Bolzano: Museion, 1999

Michael Glover. ‘The Decline and Fall of the Watercolour’.The Independent, 11 March 1999

1998

Henk W. van Os. ‘Kunst die verdrongen ideeën en blinde vlekken blootlegt’.Beeldenstorm 3: Close-Ups van kunst uit Nederlandse Musea, Amsterdam: Amsterdam University Press, 1998: p. 67-70, 181

1997

‘Ek staan tussin – tussen alles’.Afrikaans Vandag, vol. 4, no. 3 (June 1997): p. 14-15

‘Marlene Dumas: Models’.Portikus Frankfurt am Main 1987–1997, Frankfurt am Main: Portikus, 1997: p. 256-257

Ernst van Alphen. ‘The Portrait’s Dispersal: Concept of Representation and Subjectivity in Contemporary Portraiture’.Portraiture: Facing the Subject, Manchester: Manchester University Press, 1997: p. 239-256

Rudolf Evenhuis, Joost Verhey.Miss Interpreted (Marlene Dumas).(video) Netherlands: MM Productions and The Humanistic Broadcast (1997) [broadcasted by HUMAN (Humanistische Omroep) on 1 April 1998]

Rudi Fuchs, Jan Hoet.Flemish and Dutch Painting: From Van Gogh, Ensor, Magritte and Mondrian to Contemporary Artists.New York: Rizzoli, 1997: p. 285, 326, 356

John Hutchinson.The Bread and Butter Stone: on Memory.Dublin: Douglas Hyde Gallery, 1997

Jolie van Leeuwen. ‘Wolkenkieker oder eine Wolke ist auch nicht mehr als eine Menge Wasser’.Marlene

Dumas: Wolkenkieker(exhibition catalogue), Hamburg: Produzentengalerie, 1997: p. 2

Kerstin Schweighöfer. ‘Kein Platz für tröstliche Klischees’.ART: Das Kunstmagazin, no. 7 (July 1997): p. 42-50

Jonathan Turner. ‘Mistaken Identity’.Tableau, vol. 20, no. 2 (November 1997): p. 118-123

Jonathan Turner. ‘Sometimes clever, sometimes smutty’.ARTnews, vol. 96, no. 1 (January 1997): p. 98-101

1996

Paul Andriesse, Mariska van den Berg.Art Gallery Exhibiting: The Gallery as a Vehicle for Art.Amsterdam: Uitgeverij De Balie, 1996: p. 176-177

Neal Benezra. ‘Marlene Dumas: On Beauty’.Distemper: Dissonant Themes in the Art of the 1990’s(exhibition catalogue), Washington D.C./New York: Hirshhorn Museum and Sculpture Garden Smithsonian Institution and Distributed Art Publishers, 1996: p. 30-39

Ulrich Bischoff. ‘Auf der Suche nach Schönheit’.Kritisches Lexikon der Gegenwartskunst, vol. 33, no. 1 (1996): p. 1-16

Gabriele Brandstetter. ‘Dem original Entsprungen. Über Models, Mimikry und Fake’.Die Neue Gesellschaft Frankfurter Hefte(July 1996): p. 641-648

Margret Brügman. ‘Elke wond is roze. Melancholie in het werk van Marlene Dumas’.De Schone Waarheid en de Steen der Dwazen. Transartistiek studies, Baarn: Ambo, 1996: p. 215-225

Agnes Hoefakker. ‘Blind date, een uitgesproken verlangen naar relaties. Gedachten naar aanleiding van een schilderij van Marlene Dumas’.Mara, vol. 10, no. 2 (December 1996): p. 25-27

1995

Ernst van Alphen. ‘Dumas’ Denk-Beelden’.Filosofie, vol. 5, no. 4 (August-September 1995)

Ernst van Alphen. ‘Sich der Entstellung Stellen. ‘Models’ und Marlene Dumas’ Eingriff in die westliche Kunst / Facing Defacement. Models and Marlene Dumas’ intervention in Western Art’.Marlene Dumas: Models(exhibition catalogue), Stuttgart/Salzburg: Oktagon / Salzburger Kunstverein, 1995: p. 55-64/67-75

Anke Bangma. ‘Three Women (are better than one) / Tre donne (sono meglio di una)’.Dumas, Roosen, Van Warmerdam(exhibition catalogue), Rotterdam/Amsterdam: Witte de With, Center for Contemporary Art in collaboration with the Mondriaan Foundation, 1995: p. 75-84

Ludo Bekkers, Elly Stegeman. ‘Marlene Dumas’.Hedendaagse schilders in Nederland en Vlaanderen / Contemporary Painting of the Low Netherlands, Rekkem: Stichting Ons Erfdeel, 1995: p. 38-41

Maarten Bertheux, Mari Shields, Lorna Ferguson, Christopher Till. ‘Exhibition: See no Evil’.Africus. 95 Johannesburg Biennale(exhibition catalogue), Johannesburg: Greater Johannesburg Metropolitan Council, 1995: p. 186-187

Silvia Eiblmayr. ‘Die Augen der Nacht-Kreaturen: Über den nicht domestizierten Blick in den Bildern von Marlene Dumas / The Eyes of the Night Creatures: On the Non-Domesticated Gaze in the Pictures by Marlene Dumas’.Marlene Dumas: Models(exhibition catalogue), Stuttgart/Salzburg: Oktagon/Salzburger Kunstverein, 1995: p. 7-9 / 11-13

Maxine Kopsa. ‘The Iconography of ‘Bad Painting’: Marlene Dumas’ ‘Snowwhite and the Broken Arm”.Simulacrum(June 1995): p. 25-27

Catherine van Houts. ‘Het Stedelijk volgens Marlene Dumas’.Het Parool, 5 September 1995: p. 9

1994

Carel Blotkamp. ‘De werkplaats. Paul Andriesse fotografeert Marlene Dumas’. Kunstschrift, no. 5 (September/October 1994): p. [6-7]

Bernard Marcadé. ‘Le supplément de chair de la peinture de Marlene Dumas’.Du concept à l’image: Art Pays Bas au XXème Siecle(exhibition catalogue), Paris: Musée d’Art Moderne de la Ville de Paris, 1994: p. 75-78

1993

Ulrich Loock. ‘Bilder unverständlich, aber einleuchtend / Pictures incomprehensible but illuminating’.Parkett, no. 38 (December 1993): p. 112-119

Ingrid Schaffner. ‘Dial 970-MUSE: Marlene Dumas’s p*rnographic Mirror / Telephon 97–Muse. Marlene Dumas’ p*rnografischer Spiegel’.Parkett, no. 38 (December 1993): p. 100-105/106-111

Bianca Stigter. ‘New Fairy Tales for the Low Countries: about Marlene Dumas, a South African Artist in the Netherlands’.Low Countries: Arts and Society in Flanders and the Netherlands, Flanders: Flemish-Netherlands Association/Ons Erfdeel, 1993: p. 100-106 [no. 1]

Anna Tilroe. ‘De onvervuldheid en het teveel’.Tirade, vol. 37, no. 348 (September-October 1993): p. 389-392

Anna Tilroe. ‘The Unfulfillment and the Surfeit / Leere und Übermass’.Parkett, no. 38 (December 1993): p. 88-99

Marina Warner. ‘Marlene Dumas: In the Charnel House of Love / Im Beinhaus der Liebe’.Parkett, no. 38 (December 1993): p. 76-87

1992

Marcel Vos. ‘Making and Meaning: in the margin of Miss Interpreted’.Miss Interpreted, Marlene Dumas(exhibition catalogue), Eindhoven: Stedelijk van Abbemuseum, 1992: p. 102-107

1991

Evelyn Beer, Anna Tilroe, Dirk van Weelden.L’Invitation au voyage/De uitnodiging tot de reis; Hedendaagse kunst uit Nederland / Art contemporain des Pays-Bas.The Hague: Rijksdienst Beeldende Kunst Den Haag, 1991

Sigurdur Gudmundsson, Zsa Zsa van Eyck, Marente Bloemheuvel.Sigurdur Gudmundsson.Venlo: Van Spijk, 1991: p. 228-237

Ingrid Schaffner. ‘Snow White in the Wrong Story: Paintings and Drawings by Marlene Dumas’.Arts Magazine, vol. 65, no. 7 (March 1991): p. 59-63

Renée Steenbergen. ‘Mijn wapens treffen altijd doel. Marlene Dumas: Het Kwaad is banaal’.NRC Handelsblad (Cultureel Supplement), 27 December 1991: p. 6

1990

Ulrich Bischoff. ‘Zur Ausstellung’.Marlene Dumas: The Origin of the Species (exhibition catalogue), Munich: Staatsgalerie Moderner Kunst, Bayerische Staatsgemäldesammlungen, 1990

Ellen de Bruijne.Zelfportretten.Haarlem: Drukkerij C. Huig, 1990

Antje von Graevenitz. ‘In het teken van het existentialisme: een schets’.Archis, no. 6 (June 1990): p. 14-21 Nina Jonker. ‘Snowwhite and the broken arm’.Haags Gemeentemuseumkrant, vol. 2 (March 1990): p. 11

Rudolf Evenhuis, Jaap Guldemond.Bikinimeisjes.(video) Hilversum: VPRO, 25 February 1990

Marja Bosma. ‘Marlene Dumas: Talking to Strangers’.Dutch Heights, no. 3 (3 September 1990): p. 13-16

1989

Paul Andriesse, Wendie Shaffer.Innodiging voor mooie tentoonstellingen + trio eenzaamheid.Amsterdam: Galerie Paul Andriesse, 1989

Marente Bloemheuvel, Elise Huyberts. ‘Kunstenaars en kritiek. Een testcase. Marlene Dumas en Rob Scholte in de Nederlandse kunstkritiek’.Kunstlicht, vol. 10, no. 4 (1989): p. 9-15

Ulrich Loock. ‘Malerei und Bedeutung’.The Question of Human Pink(exhibition catalogue), Bern: Kunsthalle Bern, 1989: p. 49-55

Martijn van Nieuwenhuyzen. ‘Making meaning’.6 Dutch Artists(exhibition catalogue), Edinburgh: The Fruitmarket Gallery, 1989: p. [2-5]

Wouter Welling. ‘Omtrekkende bewegingen: Citaten uit brieven van Marlene Dumas’.Artefactum, vol. 6, no. 27 (February-March 1989): p. 30-36, 61-63

1988

‘Velen zijn geroepen, maar weinigen uitverkoren’.Openbaar Kunstbezit – Kunstschrift, vol. 32, no. 6 (November-December 1988): p. 214-217

‘Lof der onzuiverheid’.HCAK-bulletin (Haags Centrum voor Aktuele Kunst), vol. 14, no. 2 (1988)

Ulrich Bischoff. ‘Art is stories told by Toads’.Waiting (for meaning)(exhibition catalogue), Kiel: Kunsthalle zu Kiel, 1988: p. 4-6

Rudolf Evenhuis, Jaap Guldemond.Don’t Talk to Strangers.(video) Amsterdam: Stichting Actuele Kunstdocumentatie (1988)

Martijn van Nieuwenhuyzen. ‘Making meaning’.Waiting (for meaning)(exhibition catalogue), Kiel: Kunsthalle zu Kiel, 1988: p. 12-17

Wanda Reiff.Seriös: Galerie Wanda Reiff Maastricht 1988: Tentoonstellingen 1988 / Exhibitions 1988.Maastricht: Galerie Wanda Reiff, 1988

1987

Piet de Jonge. ‘The Subjective as Object’.Dutch Art + Architecture Today, no. 21 (June 1987): p. 9-14

’75 ‘Europese schilders’ in Straatsburg’.NRC Handelsblad, 19 November 1987: p. 6

Jhim Lamoree. ‘Geboren worden, dood gaan en … ‘Kunst is, gelijk sex, een ritueel om de dood te ontzenuwen”.HP (Haagse Post)(19 December 1987): p. 126-127

1986

‘Amsterdamse notities: werken op papier / Amsterdam Notes: Works on Paper (Hermanides – Holstein – Dumas)’.Fodor maanblad voor beeldende kunst in Amsterdam, vol. 5, no. 4 (July-August 1986): p. 10-14

Janneke Wesseling. ‘Marlene Dumas: ‘Tragiek, liefde, lijden, daarover gaat mijn werk”.NRC Handelsblad, 28 February 1986: p. 4

1985

Paul Andriesse. ‘The Eyes of the Night Creatures’.The Eyes of the Night Creatures(exhibition catalogue), Amsterdam: Galerie Paul Andriesse, 1985: p. [n.p.]

Marja Bosma. ‘Vertaalde beelden: Marlene Dumas’.Openbaar Kunstbezit / Kunstschrift, vol. 29, no. 2 (March-April 1985): p. 68-74

Rudy Hodel. ‘Het Avondmaal’.Het Avondmaal(exhibition catalogue), Leeuwarden: Stichting Alde Fryske Tjerken Fryske Kultuerried, 1985: p. 7-11

Piet de Jonge. ‘The Faces of Marlene Dumas’.Vijftien kunstenaars, Stedelijk Van Abbemuseum(exhibition catalogue), Eindhoven: Stedelijk Van Abbemuseum, 1985

Ludger Smit. ‘Minder is niet lang meer / Less is no longer more’.Tableau, vol. 7, no. 5 (April-May 1985): p. 44-48

1984

‘Marlene Dumas’.Per Kwartaal, Bulletin Centraal Museum, vol. 1, no. 2 (September-October-November 1984): p. 2-3

‘Marlene Dumas: 13 oktober – 25 november’.Per Kwartaal, Bulletin Centraal Museum, vol. 1, no. 0 (March-April-May 1984)

De Nederlandse identiteit in de kunst na 1945.Amsterdam: Meulenhoff/Landshoff and Stedelijk Museum, 1984: p. 208-211

Jetteke Bolten. ‘Marlene Dumas’.Dutch Art + Architecture Today, no. 15 (June 1984): p. 2-7

Marja Bosma. ‘Below Sealevel’.Marlene Dumas: Ons Land Licht Lager Dan De Zee (exhibition catalogue), Utrecht: Centraal Museum, 1984: p. 1-16 [including English summary]

Jan Debbaut. ‘Inleiding’.Marlene Dumas: Ons Land Licht Lager Dan De Zee(exhibition catalogue), Utrecht: Centraal Museum, 1984: p. 0

Rob Perrée. ‘De passie en haar slachtoffers’.Kunstbeeld, vol. 8, no. 8 (1984): p. 62-64 Ella Reitsma. ‘Marlene Dumas’.Vrij Nederland(11 August 1984): p. 10

1983

‘Amsterdam koopt kunst’.Fodor maanblad voor beeldende kunst in Amsterdam, vol. 2, no. 9 (April 1983): p. 32

Frans van Burkom. ‘Marlene Dumas: Ik ben niet wat ik dacht ik waren, ik ben onbetrouwbaar…’.Het persoonlijke = politiek(exhibition catalogue), Amsterdam: Nederlandse Kunststichting, 1983: p. 10-12

1981

Alied Ottevanger. ‘Marlene Dumas’.Metropolis M, vol. 2, no. 5 (July 1981): p. 39-50

Lily van Ginneken, Pieter Heynen. ‘Het schilderen weer centraal: Marlene Dumas’.de Volkskrant, 11 September 1981: p. 25

1980

Jean-Jacques Lévêque. ‘Géographie artistique parisienne’.Cimaise: Art et Architecture, vol. 27, no. 147 (June-July-August 1980): p. 63

Reviews

2022

Eric Rinkchout. ‘Voorbij mooi en lelijk’.Knack(2022): p. 88-92

Thibaut Wychowanok. ‘Marlene Dumas: Une artiste entre ombre et lumière’.Numéro Art, no. 10 (2022): p. 66-81

Edward Behrens. ‘Full frontal flatness – Marlene Dumas in Venice’.Apollo, 1 April 2022 (online)

Geert Van der Speeten. ‘Rouw en roes’.De Standaard, 2 April 2022: p. 46-49 (online)

Sarah van Binsbergen. ‘Liefde, dood, politiek en p*rno: bij beeldend kunstenaar Marlene Dumas vind je het in overvloed’.de Volkskrant, 7 April 2022: p. V4-5, 7

Sandra Smallenburg. ‘Niet te missen 2: Marlene Dumas in Palazzo Grassi’.NRC Handelsblad (Cultureel Supplement), 28 April 2022: p. C9 (online)

Sebastian Smee. ‘Venice takes a surreal turn, not for the better’.The Washington Post, 29 April 2022 (online)

Joke de Wolf. ‘Zelfs in doodsangst maakt Marlene Dumas kunst die diep weet te raken’.Trouw, 24 May 2022: p. 12-13 (online)

Hans den Hartog Jager. ‘In Venetië predikt Marlene Dumas een zachte revolutie’.NRC Handelsblad (Cultureel Supplement), 16 June 2022: p. C10-11 (online)

2021

Judicaël Lavrador. ‘Marlene Dumas, poèmes en poses’.Libération, 7 November 2021: p. 28 (online)

2020

Jan Braet. ‘Jan Braet kijkt naar kunst en het leven, deze week: Marlene Dumas in de ban van Le Spleen de Paris in galerie Zeno X, Antwerpen’.Knack, vol. 50, no. 26, 24 June 2020: p. 92 (online)

Luk Lambrecht. ‘De twee-kantige realiteit van de schilderkunst van Marlene Dumas Zeno X Gallery, Antwerpen’.flux-news.be, 30 June 2020 (online)

2018

Larissa Pham. ‘Marlene Dumas’s Metamorphoses’.The Paris Review(online)

Peter Schjeldahl. ‘Marlene Dumas: Zwirner’.The New Yorker(June 2018)

Nina Siegal. ‘Love, Sex and Hybrid Creatures in “Moonrise”’.Modern Painters(September 2018): p. 56-67

Kaelen Wilson-Goldie. ‘Marlene Dumas David Zwirner’.Artforum(September 2018): p. 286

Nina Siegal. ‘A Radical Artist Takes a Startling Turn Toward Love’.International New York Times, 8 May 2018: p. 1-2

Nina Siegal. ‘Ook in de liefde radicaal en extreem politiek’.Het Parool, 26 May 2018: p. 14-15

Ara H. Merjian. ‘Marlene Dumas at David Zwirner’.Art in America, 1 September 2018 (online)

2017

Susanne Altmann. ‘Schwarzer Christus’.ART: Das Kunstmagazin(April 2017): p. 136-137

Sandra Smets. ‘Mooie kunstwerken, maar een moeilijk verhaal’.NRC Handelsblad (Cultureel Supplement), 12 January 2017: p. C14

Hans Bouman. ‘Shakespeare blijft inspireren’.de Volkskrant – Sir Edmund Boeken, 14 January 2017: p. 26

Felicitas Rhan. ‘Wärmebilder am Lebensbaum’.Frankfurter Allgemeine Zeitung, 28 March 2017: p. 12

Guus Middag. ‘Was Venus maar een everzwijn’.NRC Handelsblad, 21 April 2017: p. C8

2016

Christopher D. Shea. ‘Live From Prison, Oscar Wilde’s Letter’.nytimes.com, 21 July 2016 (online)

Laura Cumming. ‘Inside: Artists and Writers in Reading Prison review – a momentous Artangel project’.The Guardian, 4 September 2016 (online)

Adrian Searle. ‘Inside: Artists and Writers in Reading Prison review – a star-studded tribute to Oscar Wilde’. The Guardian, 5 September 2016 (online)

Farah Nayeri. ‘Oscar Wilde Honored by the Prison That Once Detained Him’.The New York Times, 14 September 2016 (online)

Jann Ruyters. ‘Jij, die driemaal mooier is dan ikzelf’.Trouw, 24 December 2016: p. 18

2015

Annelie Pohlen. ‘The Image as Burden’.Kunstforum International, no. 231 (2015): p. 302-305

Daniël Rovers. ‘Inktdroom’.De Witte Raaf, vol. 29, no. 173 (January-February 2015): p. 11-14

Kerstin Schweighöfer. ‘Unter die Haut: Die schillernden Menschenbilder der Marlene Dumas’.ART: Das Kunstmagazin(June 2015): p. 20-31

Adrian Searle. ‘Rapture and rejects: the beautiful, flawed world of Marlene Dumas’.The Guardian, 2 February 2015 (online)

Karen Wright. ‘Marlene Dumas at the Tate Modern: Sex, social inequality and human spirit explored superbly’.The Independent, 8 February 2015 (online)

Daniele Muscionico. ‘Der ungeheure Mensch’.Basler Zeitung, 30 May 2015 (online)

Valérie Duponchelle. ‘Les fantômes de Marlene Dumas’.Le Figaro, 13 June 2015

José da Silva. ‘Dumas retrospective is even bigger for Basel’.The Art Newspaper (Art Basel Daily Edition), 18 June 2015: p. 23

2014

Stefan Kuiper. ‘Misleidende beelden’. Museumtijdschrift, no. 6 (September-October 2014): p. 52-58

Caoimhín Mac Giolla Léith. ‘A Wall to Object to’.Frieze, no. 167 (November-December 2014): p. 125-131

Christophe Van Gerrewey. ‘The Image as Burden’.De Witte Raaf, no. 172 (November-December 2014): p. 9-11

Nina Siegal. ‘Art Shapes a Civil Rights Debate in Russia’.International New York Times, 18 June 2014: p. S5

Ronald Ockhuysen. ‘De waarheid van Dumas’.Het Parool (PS), 29 August 2014: p. 4-7

Joost Zwagerman. ‘Zwagerman kijkt: Beschouwing Dumas en Ensor’.de Volkskrant, 2 September 2014: p. V5

Kerstin Schweighöfer. ‘Szenen wie aus Hollywood: Erste Einzelausstellung in der Wahlheimat der südafrikanischen Malerin seit über 20 Jahren’.ART: Das Kunstmagazin(September 2014): p. 112-113

Hans den Hartog Jager. ‘Werkelijkheid in de houdgreep’.NRC Handelsblad, 6 September 2014: p. 28-29

Kees Keijer. ‘Marlene Dumas is in haar oeuvre consequent inconsequent gebleven’.Het Parool, 6 September 2014

Henny de Lange. ‘Schilder met een beklemmende last’.Trouw, 6 September 2014: p. 16

Rutger Pontzen. ‘De drietrapsraket van Dumas’.de Volkskrant, 6 September 2014: p. 2-3

Frits Abrahams. ‘Kwetsbaarheid’.NRC Handelsblad, 8 September 2014: p. 20

Koen van Boxem. ‘De priemende blikken van Marlene Dumas’.De Tijd, 8 September 2014: p. 56-57 (online)

Geert van der Speeten. ‘Ziehier de mens. Overdonderende overzichtsexpo van Marlene Dumas – Zachte tinten, krasse beelden’.De Standaard, 8 September 2014: p. D2-D3

Eric Rinckhout. ‘Verwarrende beelden, weerbarstige verf’.De Morgen, 13 September 2014: p. 12-13

Joyce Roodnat. ‘De beschonken zeemeermin’.NRC Handelsblad, 13 September 2014: p. L4

Alied Ottevanger. ‘Marlene Dumas: Het verhaal achter de tentoonstelling’. Metropolis M, 17 September 2014 (online)

Alied Ottevanger. ‘The Image as Burden’.Metropolis M, no. 5 (October-November 2014): p. 86-87

Griet Op de Beeck. ‘Haar last, onze lust’.De Morgen, 11 October 2014: p. 21

Tom Engelshoven. ‘Lof der Slimheid’. OOR, no. 12 (December 2014)

2013

Niklas Maak. ‘Autopsien des Gemüts’. Frankfurter Allgemeine Zeitung, 29 July 2013

Lucette ter Borg. ‘Magistrale schilderkunst van Dumas en Tuymans’.NRC Handelsblad (Cultureel Supplement), 7 November 2013: p. C7

Rutger Pontzen. ‘Galerie der groten: frivool versus frictie’.de Volkskrant, 15 November 2013: p. V2-3

2012

Coline Milliard. ‘Reviews. London. Marlene Dumas’.Modern Painters, vol. 24, no. 1 (February 2012): p. 82

Joke de Wolf. ‘De schoonheid en troost van Marlene Dumas’.Trouw, 27 October 2012: p. 14-15

Wieteke van Zeil. ‘Prijzengeld Dumas naar De Ateliers’.de Volkskrant, 31 October 2012: p. V15

2011

Hans den Hartog Jager. ‘Een machteloze Christus’.NRC Handelsblad (Cultureel Supplement), 20 October 2011: p. 6

Jonathan Evens. ‘Creation inspired by the Cry of Dereliction’.The Church Times, 4 November 2011 (online)

2010

Jolanda Drexler. ‘Tronies: Marlene Dumas und die Alten Meister’.Kunstforum International, no. 206 (2010): p. 352-354

Howard Halle. ‘Marlene Dumas: Against the Wall’.Time Out New York(1-7 April 2010): p. 44

Donald Kuspit. ‘Marlene Dumas at David Zwirner’.Artforum(Summer 2010): p. 350-351

Jerry Saltz. ‘Let’s Reconsider. I Found Something to Like About Marlene Dumas’.New York Magazine(19 April 2010): p. 94-95

Kia Vahland. ‘Die Kunst Hat Viele Gesichter’.Süddeutsche Zeitung, 29 October 2010: p. 11

Hans den Hartog Jager. ‘Onttoverde portretten. Marlene Dumas en de strijd tegen het illusoire instinct’.NRC Handelsblad (Cultureel Supplement), 5 November 2010: p. 10-11

2009

Annelie Pohlen. ‘Marlene Dumas: Magnetic Fields’.Kunstforum International, no. 195 (2009): p. 342-345

Annelie Pohlen. ‘Marlene Dumas: Schillernde Models und müde Müde Musen oder wie die Malerei den Blick in Verlegenheit bringt’.Kunstforum International, no. 199 (October-December 2009): p. 232-247

Rainald Schumacher. ‘Marlene Dumas, Yes we can!’.Flash Art, vol. 42, no. 265 (March-April 2009): p. 52-55

Merel Van Tilburg. ‘Marlene Dumas. Measuring your own Grave’.De Witte Raaf, no. 138 (March-April 2009)

Barry Schwabsky. ‘The Human Metaphor’.The Nation, 2 March 2009: p. 34-36
Carol Vogel. ‘Frog in Hand (Worth Two Glances)’.The New York Times, 5 June 2009: p. C 25-26

2008

Christopher Bagley. ‘Dutch Master’.W Magazine(June 2008): p. 148-155

Jordan Kantor. ‘Reviews: Marlene Dumas, Museum of Contemporary Art, Los Angeles’.Artforum, vol. 47, no. 2 (October 2008): p. 374-375

Kate Lowenstein. ‘A Splatter of Life and Death’.Time Out New York(11-17 December 2008): p. 2, 57

Eline van der Vlist. ‘The many Faces of Marlene Dumas. Face Value’.Modern Painters, vol. 21 (June 2008): p. 82-87

Bram Vermeulen. ‘Erotisch werk botst op taboes Z-Afrika’.NRC Handelsblad, 9 February 2008: p. 9

Deborah Solomon. ‘Figuring Marlene Dumas’.THe New York Times Magazine(15 June 2008): p. 38-43

Christopher Knight. ‘Marlene Dumas Subject of MOCA Retrospective’.The Los Angeles Times, 25 June 2008 (online)

Roberta Smith. ‘The Body Politic: Gorgeous and Grotesque’.The New York Times, 12 December 2008: p. C33, C36 (online)

Jhim Lamoree. ‘Dumas’ expliciete seks doet VS even slikken’.Het Parool, 15 December 2008

Peter Schjeldahl. ‘Unpretty Pictures’.The New Yorker(22-29 December 2008): p. 112-113

Ariella Budick. ‘Body of Evidence’.Financial Times, 27 December 2008: p. 11

2006

Hans-Dieter Fronz. ‘Baden Baden: Marlene Dumas in der Kunsthalle’. Kunstbulletin(January-February 2006)

Hans-Dieter Fronz. ‘Marlene Dumas: Female’.Kunstforum International, no. 179 (January-February 2006): p. 325-328

Thomas Wagner. ‘Bilder sind wie Schatten auf der Haut. Ein Kosmos aus Gesichtern: Gemälde und Zeichnungen von Marlene Dumas in der Kunsthalle Baden-Baden’.FAZ Feuilleton(19 January 2006)

Serge Hartmann. ‘Marlene Dumas redemption song à Baden’.Dernières Nouvelles d’Alsace(January 2006)

Jhim Lamoree. ‘Stedelijk wil Mohammed B.’s portret. Herkent u de buurman?’. Het Parool, 17 October 2006

Hans den Hartog Jager. ‘Bekende koppen met onvermoede lagen: Dumas hekelt gemakzuchtig kijken’.NRC Handelsblad, 26 October 2006: p. 11

Wieteke van Zeil. ‘Bij Dumas is vorm de boodschap’.de Volkskrant, 28 October 2006

2005

Morgan Falconer. ‘Marlene Dumas: The Second Coming’.The Burlington Magazine, vol. 147, no. 1233 (February 2005): p. 130-132

2004

Adrian Searle. ‘Fatal attraction’.The Guardian, 23 November 2004: p. 12 (online)

2003

Emma Dexter. ‘Painting Fear’.Modern Painters, vol. 16, no. 3 (Autumn 2003): p. 90-91

Judith Russi Kirshner. ‘Marlene Dumas: Art Institute of Chicago’.Frieze, no. 76 (June-August 2003): p. 110-111

Susan Snodgrass. ‘Marlene Dumas at the Art Institute of Chicago’.Art in America, vol. 91, no. 9 (September 2003): p. 130

2002

Jill Conner. ‘Marlene Dumas’ Name no Names’.NY Arts Magazine, no. 4 (April 2002): p. 17-18

Geurt Imanse. ‘Name No Names, tekeningen van Marlene Dumas’.Vitrine, vol. 15, no. 4 (2002): p. 10-15

Niamh Ann Kelly. ‘Marlene Dumas: Douglas Hyde Gallery’.Art Monthly, no. 253 (February 2002): p. 43-45

Angelique Spaninks. ‘Vogelvrije lijntjes op papier: Het tekenwerk van Marlene Dumas bij De Pont’.Kunstbeeld, vol. 26, no. 7/8 (July-August 2002): p. 14-17

Koos Tuitjer. ‘Marlene Dumas licht de realiteit genadeloos door: honderd werken op papier in De Pont’.Brabant Cultureel(September 2002)

Peter Kattenberg. ‘Oog voor decorum: nieuw werk van Bert Boogaard bij galerie Paul Andriesse’.Het Financieele Dagblad, 26 January 2002: p. 25

Grace Glueck. ‘Capturing Humanity, rough and unrefined’.The New York Times, 29 March 2002: p. B36

Megan Heuer. ‘Marlene Dumas: Name no Names’.The Brooklyn Rail, 1 July 2002 (online)

Peter Kattenberg. ‘Broos & kwetsbaar’.Het Financieele Dagblad, 10 August 2002

Lars Kwakkenbos. ‘De schoonheid van Helena’.De Standaard(10 October 2002): p. 14

Marc Ruyters. ‘Het meisje en de dood’.De Tijd (bijlage Tijd-Cultuur), 19 October 2002

2001

Manou Farine. ‘Marlene Dumas, le regard du désir’.L’Oeil, no. 531 (November 2001): p. 22-27 Anouchka Roggeman. ‘Marlene Dumas: le nom dit’.Connaissance des Arts, no. 589 (December 2001): p. 35-37

Franklin Sirmans. ‘Marlene Dumas: Jack Tilton / Anna Kustera Gallery, New York’.Tema Celeste, no. 87 (September-October 2001): p. 80

Pieter Kottman. ‘De verbeelding van de intimiteit’.NRC Handelsblad, 3 November 2001: p. 9

Merel Bem. ‘Dumas tekent angst van zich af’.de Volkskrant, 28 November 2001

2000

Krisztina Katona. ‘Marlene Dumas. MD Paintings and Drawings’.Contemporary Visual Arts, no. 10 (April 2000): p. 65

Paul Kempers. ‘Tieten-kont’.De Groene Amsterdammer, vol. 123, no. 16 (2000): p. 48-50

Barry Schwabsky. ‘Marlene Dumas: Museum van Hedendaagse Kunst, Antwerp’.Artforum, vol. 38, no. 5 (January 2000): p. 108

Adrian Searle. ‘p*rn? You must be joking’.The Guardian, 17 February 2000: p. 10-11

Tjalling van Dijk. ‘Gefascineerd door strippende meisjes’.Algemeen Dagblad, 6 April 2000

Maartje den Breejen. ‘Uit de kleren: Strippen met Marlene Dumas en Anton Corbijn’.Het Parool (PS), 8 April 2000: p. 16-20

Irene Start. ‘Dumas en Corbijn maken theatervorm van striptease’.Haarlems Dagblad, 15 April 2000

Karel Ankerman. ‘Grote liefde, blijvend verdriet: Marlene Dumas steunt beladen project in Zuid-Afrika’.Het Financieele Dagblad, 30 September 2000: p. 29

1999

DF. ‘Marlene Dumas: Museum van Hedendaagse Kunst’.Artforum, vol. 37, no. 1 (September 1999)

F. Jeursen. ‘Marlene Dumas, ja of nee’.Kunstwerk, vol. 11, no. 5 (November-December 1999): p. 40-41

Domeniek Ruyters. ‘Dumas’ lach’.Metropolis M, vol. 20, no. 6 (December-January [2000] 1999): p. 52-53

Adrian Searle. ”I paint because I am a dirty Woman”.The Guardian, 30 March 1999: p. 7

Wilma Süto. ‘Het broeien en smeulen van dierlijke driften’.de Volkskrant, 7 May 1999

Peter Kattenberg. ‘Dialoog met toeschouwer: De schilderkunstige accenten van Marlene Dumas’.Het Financieele Dagblad, 23 October 1999

Hans den Hartog Jager. ‘p*rno krijgt een vreemde draai: Overzichtstentoonstelling Marlene Dumas in Antwerpen’.NRC Handelsblad, 27 October 1999: p. 11

Ilse Kuijken. ‘Marlene Dumas’.De Witte Raaf, no. 82, 1 November 1999 (online)

Jan Florizoone. ‘Bevroren in prikkelende houdingen: Marlene Dumas exposeert recent werk in Muhka’.De Standaard, 3 November 1999

Flora Stiemer. ‘Een lust voor het oog’.Algemeen Dagblad, 4 November 1999

Katja Blomberg. ‘Das Mädchen mit der roten und der schwarzen Hand. Lebensgroße Körperausschnitte: Zeichnungen und Gemälde von Marlene Dumas in Antwerpen’.Frankfurter Allgemeine Zeitung, 12 November 1999

1998

Ernst van Alphen. ‘Miss Worlds neue Kleider’.Texte zur Kunst, vol. 8, no. 29 (March 1998): p. 141-143

Rutger Pontzen. ‘Marlene Dumas: Sweet Nothings’.Metropolis M, vol. 19, no. 3 (June-July 1998): p. 63

Dirk Schwarze. ‘Damenwahl: Marlene Dumas und Andries Botha’.Kunstverein + Kunsthalle: das Fridericianum Magazin, no. 1 (Autumn 1998): p. 28-31

Christine Sluysmans. ‘De tekstuele trip van Marlene Dumas’.Jong Holland, vol. 14, no. 3 (1998): p. 55-56

Mark Peeters. ‘Dumas is geloofwaardiger dan ooit’.NRC Handelsblad, 22 January 1998: p. 10

Rogier Schumacher. ‘Cyber-sirenes en melkwitte bruidjes’.Het Parool, 27 January 1998

Wilma Sütö. ‘Stoet gekwelde en genotzuchtige vrouwen’.de Volkskrant, 27 January 1998

Aukje van Roessel. ‘Kunst voor de rechter’.de Volkskrant, 26 March 1998: p. 21

Bert Jansen. ‘Sweet Nothings’.Het Financieele Dagblad, 20 June 1998
Toine Moerbeek. ‘Minstens dubbel dubbelzinnig’.Vrij Nederland(4 July 1998)

1997

Hans den Hartog Jager. ‘Schilderijen van wol in de rechtzaal’.NRC Handelsblad, 16 September 1997

Xandra Schutte. ‘Zelfportret van het kwaad’.De Groene Amsterdammer, vol. 121, no. 43 (22 October 1997): p. 32-33

Bianca Stigter. ‘Portret van Marlene Dumas’.NRC Handelsblad, 29 October 1997

Belinda van de Graaf. ‘Het is goed toeven met Marlene Dumas’.Trouw, 30 October 1997

Riet van den Linden. ‘Marlene Dumas: vakbekwaam en mediageniek’.Opzij, vol. 25, no. 12 (December 1997): p. 206

1996

Dorothee Baer-Bogenschütz. ‘Magdalena Megamodel. Hier herrscht Eva: Der Portikus zeigt eine Ausstellung von Marlene Dumas’.Frankfurter Rundschau, 3 January 1996

Adrian Searle. ‘A Touch of Dutch Courage at the Tate’.Mail & Guardian, 3 May 1996: p. 29 Dan Holsbeek. ‘Dumas schildert pin-ups voor cellen’.De Standaard, 3 October 1996

1995

Mariska van den Berg. ‘La bella figura: Over schaalvergroting en verschuiving in Venetië’.Ruimte, vol. 12, no. 2 (1995): p. 10-15

Elisabeth Couturier. ‘Biennale: Les jeus sont faits. Beaux Arts chooses eleven Artists from the international Pavilion of the Venice Biennale’.Beaux Arts Magazine, no. 135 (June 1995): p. 68-73

Thea Figee. ‘Jezus is boos’.Kunstbeeld, vol. 19, no. 4 (1995): p. 12-15

Johanna Hofleitner. ‘Vienna – Marlene Dumas: Raum aktueller Kunst’.Flash Art, no. 185 (November-December 1995): p. 135

Elly Stegeman. ‘Aan de nachtzijde – Een project van Marlene Dumas voor Het Hooghuys’.Metropolis M, no. 2 (1995): p. 22-27

Rutger Pontzen. ‘Maria, Marlene en Marijke: Nederland in Venetië’.Vrij Nederland(8 April 1995): p. 46-49

‘Een beroemde, nimmer helende wond. Marlene Dumas: warme emoties’.Het Parool, 22 April 1995: p. 51

Marianne Vermeijden. ‘Als ik een penis wil schilderen, schilder ik geen wortel’.NRC Handelsblad, 2 June 1995: p. 5

Jhim Lamoree. ‘Drie vrouwen in Venetië’.Het Parool, 3 June 1995

Paul Depondt. ‘Sculpturen reflecteren Rietvelds bijzondere licht’.de Volkskrant, 8 June 1995

Cees Straus. ‘Nederland maakt op Biennale in Venetië goede indruk met jonge kunstenaars’.Trouw, 8 June 1995

Paul Kokke. ‘Eerherstel voor Rietvelds paviljoen’.Eindhovens Dagblad, 9 June 1995

Paul Kokke. ‘Het onverzettelijke van de vrouw’.Eindhovens Dagblad, 10 June 1995

Paul Depondt. ‘Verwantschap in een Turijns knekelhuis’.de Volkskrant (Kunst & Cultuur), 23 June 1995: p. 1

Pam Emmerik. ‘Broekie uit!’.De Groene Amsterdammer, vol. 119, no. 33 (16 August 1995): p. 28-29

Walter Barten. ‘Zowel de wanhoop om, als het geluk van het bestaan’.Het Financieele Dagblad, 9 September 1995

Anne Erfle. ‘Der unheimliche Blick: Marlene Dumas’ ‘Models’ im Salzburger Kunstverein’.Süddeutsche Zeitung, 6 November 1995

Brita Sachs. ‘Neunundneuzig Frauen samt Schlange’.Frankfurter Allgemeine Zeitung, 27 December 1995: p. 21

1994

Dan Cameron. ‘Marlene Dumas: Jack Tilton Gallery, New York’.Frieze, no. 19 (November-December 1994): p. 55-56

Ingrid Schaffner. ‘Marlene Dumas, Questioning the Limits of Portraiture’.Arts & Antiques, vol. 16 (January 1994): p. 90

Barry Schwabsky. ‘Marlene Dumas: Jack Tilton Gallery’.Artforum, vol. 33, no. 2 (October 1994): p. 103-104

Richard Vine. ‘Marlene Dumas at Jack Tilton’.Art in America, vol. 82, no. 10 (October 1994): p. 131-132

1993

Andreas Denk. ‘Marlene Dumas: Bonner Kunstverein’.Kunstforum International, no. 123 (1993): p. 355-356 Jonathan Turner. ‘Fast Forward: Amsterdam, Marlene Dumas’.ARTnews, vol. 92, no. 9 (November 1993): p. 129

Jos Van den Bergh. ‘Antwerp – Marlene Dumas: Zeno X Gallery’.Artforum, vol. 32, no. 2 (October 1993): p. 110

Els Hoek. ‘Dumas wil naakt nieuw leven inblazen’.de Volkskrant, 16 April 1993: p. 10

Lynn MacRitchie. ‘Second-hand Images of the Human Body’.Financial Times, 6 August 1993

‘Aan Verre Kust: Nederlandse kunst, besproken in buitenlandse dag-, week- en maandbladen’.Vrij Nederland, 11 September 1993

1992

Frank-Alexander Hettig. ‘Marlene Dumas: Miss Interpreted’.Kunstforum International, no. 118 (1992): p. 375

Jutta Koether. ‘Cologne – Marlene Dumas: Isabella Kacprzak’.Artforum, vol. 30, no. 8 (April 1992): p. 110-111

Maria Kreutzer. ‘Positionen der Malerei’.Kunstforum International, no. 119 (1992): p. 196-200

Rutger Pontzen. ‘Marlene Dumas’.Metropolis M, vol. 13, no. 3 (June 1992): p. 30-31

Ingrid Schaffner. ‘Erotische vertoningen van innerlijke verwarring. Marlene Dumas in het Van Abbemuseum / Erotic Displays of Mental Confusions: Marlene Dumas at the Van Abbemuseum’.Kunst & Museumjournaal, vol. 3, no. 6 (1992): p. 26-35

Kerstin Schweighöfer. ‘Eindhoven: Marlene Dumas, Kreative Interpreten gesucht’.ART: Das Kunstmagazin, no. 3 (March 1992): p. 108-109

Ingeborg Walinga. ‘”Miss Interpreted”: Schilderijen en tekeningen van Marlene Dumas’.Ons Erfdeel, no. 5 (1992): p. 691-697

Mirjam Westen. ‘Betekenis en interpretatie: Marlene Dumas’.Hervormd Nederland, vol. 48, no. 11 (1992)

Susanne Henle. ‘Der zweite Blick, Gemälde von Marlene Dumas in Köln’. Frankfurter Allgemeine Zeitung, no. 34, 12 February 1992: p. 34

‘Marlene Dumas’.NRC Handelsblad (Agenda), 12 March 1992: p. 4

Paul Depondt. ‘Gehalveerde gesprekken, Marlene Dumas en de medeplichtigheid van de toeschouwer’.de Volkskrant, 20 March 1992: p. 3

Bianca Stigter. ‘Ik teken mezelf als een waggelend dik blondje: Marlene Dumas over alle mogelijke betekenissen van het beeld’.NRC Handelsblad (Cultureel Supplement), 20 March 1992: p. 3

Ineke Schwartz. ‘Bij Dumas is snel trekken van conclusies ongewenst’.Trouw, 23 March 1992

H.B. ‘Wat moet de schilderes in een wereld vol beelden?’.Primeur, vol. 3, no. 13 (26 March 1992)

Menno Schenke. ‘Diepe buiging voor Dumas’.Algemeen Dagblad, 26 March 1992

Vera Illés. ‘Marlene Dumas vertelt geen sprookjes’.Elsevier(28 March 1992): p. 121

Jan Bart Klaster. ‘Droomprinses met een gebroken arm’.Het Parool, 28 March 1992

Cornée Jacobs. ‘Marlene Dumas en de erotische blik van de kijker’.Utrechts Nieuwsblad, 31 March 1992

Paul Kempers. ‘Marlene Dumas: Miss Interpreted’.Jonas, vol. 33, no. 16 (April 1992): p. 8-11

Dan Holsbeek. ‘Bevreemdende schilderijen van Marlène Dumas’.De Standaard, 9 April 1992

Max Borka. ‘Marlene Dumas in het Van Abbemuseum, Een kwestie van opruimen’.De Morgen, 10 April 1992: p. 9-10

Walter Barten. ‘Het slechte huwelijk van kunst en leven’.Het Financieele Dagblad, 25 April 1992

Bert Bauwelinck. ‘Wolfijzers voor psycho-analisten: Marlene Dumas in het Van Abbemuseum in Eindhoven’.Gazet van Antwerpen, 30 April 19921991

Janneke Wesseling. ‘Marlene Dumas’.NRC Handelsblad, 17 May 1991

1990

‘Marlene Dumas: The Question of Human Pink’.Jahresbericht des Vereins Kunsthalle Bern (1989/90), Bern: Kunsthalle Bern, 1990: p. 21-24

Evelyn Beer. ‘Retrospect: Marlene Dumas in the Museum Overholland, Amsterdam’.Kunst & Museumjournaal, vol. 1, no. 6 (1990): p. 41-42

Frank-Alexander Hettig. ‘Marlene Dumas: Couples, Zeichnungen’.Kunstforum International, no. 107 (April-May 1990): p. 357-358

Justin Hoffman. ‘Marlene Dumas: Staatsgalerie Moderner Kunst’.Artscribe, no. 81 (May 1990): p. 87-88

Robbert Roos. ‘Review: Marlene Dumas: Museum Overholland, Amsterdam’. Nike: New Art in Europe, vol. 8, no. 33 (May-June 1990): p. 50-51

Mathilde Roskam. ‘Marlene Dumas: Museum Overholland’.Flash Art, no. 152 (May-June 1990): p. 166

W.W. ‘De rauwe werkelijkheid van Marlene Dumas’.Beelding(March 1990)

Catherine van Houts. ‘Een plaatje van de atoomboom aan de muur’.Het Parool, 10 February 1990: p. 49

Jhim Lamoree. ‘Die meisie met die spraakgebrek’.Haagse Post(24 February 1990): p. 69

Renée Steenbergen. ‘Seks in de eerste en de derde persoon’.NRC Handelsblad, 1 March 1990: p. 6

Vera Illés. ‘De durf om persoonlijk te zijn: exposities van Ansuya Blom en Marlene Dumas in Amsterdam’.Elsevier(3 March 1990): p. 78-83

Thea Figee. ”Couples’ van Marlene Dumas zowel ontroerend lief als bikkelhard’.Utrechts Nieuwsblad, 9 March 1990

Pietje Tegenbosch. ‘Dumas zowel deelnemer als buitenstaander in de kunst’.de Volkskrant, 15 March 1990: p. 11

Cees van der Geer. ‘De weerslag van een leven met de kunst’.Haagsche Courant, 16 March 1990 Bert Jansen. ‘De getuige als regisseur: Tekeningen Marlene Dumas in Overholland’.Het Financieele Dagblad, 17 March 1990: p. 15

1989

Ernest Beck. ‘Bern – Marlene Dumas: Kunsthalle’.ARTnews, vol. 88, no. 10 (December 1989): p. 178

Ulrich Bischoff. ‘Marlene Dumas: The question of human pink’.Das Kunstwerk, vol. 42 (December 1989): p. 62-63

Paul Groot. ‘Marlene Dumas: Galerie Paul Andriesse’.Artforum, vol. 27, no. 7 (March 1989): p. 149-150

Anna Tilroe. ‘Amsterdam: Marlene Dumas’.Arena, no. 1 (February 1989): p. 103

1988

Pieter Defesche. ‘Marlene Dumas: nachtmerries en onvervuld verlangen’.Limburgs Dagblad, 19 March 1988: p. 2

Renée Steenbergen. ‘Dumas’.NRC Handelsblad, 4 November 1988: p. 8

IJsbrand van Veelen. ‘Tussen beeld en taal’.Het Parool, 4 November 1988

Paul Depondt. ‘Marlene Dumas’.de Volkskrant, 5 November 1988

Anna Tilroe. ‘Een klein blauw mannetje trekt het gordijn opzij’.de Volkskrant (Kunst & Cultuur), 18 November 1988: p. 4

1987

Martijn van Nieuwenhuyzen. ‘Marlene Dumas: Paul Andriesse, Amsterdam’.Flash Art, no. 136 (October 1987): p. 118-119

Els Hoek. ‘Dumas daagt de kijker uit’.de Volkskrant, 13 June 1987: p. 11 [reprinted on 16 June 1987 due to printing error]

Thea Figee. ‘Marlene Dumas in de Schuttersgallerij’.Trouw, 6 August 1987: p. 13

1986

Anneke Oele. ‘De waarheid van Marlene Dumas’.Ons Erfdeel, no. 4 (September-October 1986): p. 67-69

Anna Tilroe. ‘Veelzijdigheid als handelsmerk ‘.de Volkskrant, 14 March 1986: p. 18

1985

‘Marlene Dumas Portretten’.Tableau, vol. 7, no. 4 (February 1985): p. 84

Betty van Garrel. ‘Marlene Dumas’.NRC Handelsblad (Cultureel Supplement), 22 March 1985: p. 11 Mathilde Roskam. ‘Betrapt door het penseel’.Het Parool Uit & Thuis, 27 March 1985: p. 4

1984

Alied Ottevanger. ‘Unsatisfied Desire’.Metropolis M, vol. 5, no. 1 (March-April 1984): p. 59

Rob Smolders. ‘Marlene Dumas: Zeemeermin in polderland’.Metropolis M, vol. 5, no. 5 (November-December 1984): p. 6-9

Cees Straus. ‘Romantiek van jeugdherinnering: Schilderijen, litho’s en collages van Marlene Dumas’.Trouw, 24 October 1984: p. 4

Janneke Wesseling. ‘Overblijfselen van een denkproces: Tekeningen en collages van Marlene Dumas in Utrecht’.NRC Handelsblad, 13 November 1984: p. 1, 6

Tineke Reijnders. ”Ophelia maak het water niet vies!’ Marlene Dumas tussen het persoonlijke en het algemene’.De Groene Amsterdammer(21 November 1984): p. 17

1983

Paul de Vos. ‘Unsatisfied Desires’.Tableau, vol. 6, no. 2 (November-December 1983): p. 106

1981

Frans Keysper. ‘Oudshoorn en Dumas dwingen tot kijken’.Haarlems Dagblad, 11 September 1981

Paul Groot. ‘Dumas / Oudshoorn laten zich inspireren door vreemde dieren’.NRC Handelsblad, 24 September 1981: p. 6

Writings

2023

Jan Andriesse, Marlene Dumas. ‘Praten over Katz / Talking about Katz’.Alex Katz(exhibition catalogue), Wassenaar: Voorlinden, 2023: p. 54-57

Marlene Dumas. ‘Afterword’.Alex Katz(exhibition catalogue), Wassenaar: Voorlinden, 2023: p. 56-59

Marlene Dumas. ”Was bedeutet Ihnen Picasso?”.Art Special: Leben und Werk: Das Wunder des Gelingens (2023): p. 115 [tribute on Picasso by Marlene Dumas]

Marlene Dumas. ‘One More!!!’.Susanna Heller, Beyond Pain, Amsterdam: Studio Dumas, 2023: p. 42-44

Marlene Dumas. ‘De laatste ronde’.Schiller Gazet: De dood of de gladiolen, vol. 9, no. 14 (Spring 2023): p. 11

Marlene Dumas. ‘Artists’ Artists: Six artists whose work has been acquired by the National Gallery select work from the collection that inspire, move or intrigue them’.The Annual – a comprehensive publication published by the National Gallery of Australia(2023): p. 134-137

2021

Marlene Dumas. ‘Hemelpost’.HP De Tijd(December-January 2021): p. 75

2020

Marlene Dumas. ‘Double Takes’.25 years of collaboration, Antwerp/London: Zeno X Books/Hannibal/Koenig Books, 2020: p. 218

2019

Marlene Dumas. ‘Alice Neel Loves Jean Genet’.Alice Neel: Freedom, New York: David Zwirner Books, 2019: p. 23

Marlene Dumas. ‘Chance encounters are my alibi’.BR (Brooklyn rail) (October 2019): p. 50

Marlene Dumas. ‘Het Onverantwoordelijke Gebaar – of ga terug naar waar jij vandaan komt’.

Huizinga-lezing 2019, Diemen: Uitgeverij EW, 2019: p. 9-59
Marlene Dumas. ‘Myths & Mortals’. Marlene Dumas: Myths & Mortals (exhibition catalogue), New York: David Zwirner Books, 2019: p. 45-103

2018

Marlene Dumas. ‘De oorsprong van de schilderkunst’.De meest eigentijdse schilderijen tentoonstelling. Nederlandse schilderkunst van nu(exhibition catalogue), Bussum: Uitgeverij Thoth, 2018: p. 60

Marlene Dumas. ‘Epilogue’.Omega’s Eyes(exhibition catalogue), Oslo: Munch Museum, 2018: p. 158-159

Marlene Dumas. ‘Geef mij een schilderij’.De meest eigentijdse schilderijen tentoonstelling. Nederlandse schilderkunst van nu(exhibition catalogue), Bussum: Uitgeverij Thoth, 2018: p. 61

Marlene Dumas. ‘Intoxication’.Omega’s Eyes(exhibition catalogue), Oslo: Munch Museum, 2018: p. 55

Marlene Dumas. ‘Moonlight’.Omega’s Eyes(exhibition catalogue), Oslo: Munch Museum, 2018: p. 66

Marlene Dumas. ‘Nightlight’.Omega’s Eyes(exhibition catalogue), Oslo: Munch Museum, 2018: p. 96

Marlene Dumas. ‘Omega’s Eyes’.Omega’s Eyes(exhibition catalogue), Oslo: Munch Museum, 2018: p. 4-6

Marlene Dumas. ‘Post Script’.Omega’s Eyes(exhibition catalogue), Oslo: Munch Museum, 2018: p. 164 Marlene Dumas. ‘Venus was a Goddess’.Dry: Collectible, vol. 8 (Pre-Fall 2018): p. 64-65

2017

Marlene Dumas. ‘A letter to Parkett from Marene Dumas / Ein Brief an Parkett von Marlene Dumas’.Parkett: Expanded Exchange, no. 100/100 (December 2017): p. 190-193

Marlene Dumas. ‘Being held by Others’.Goede Hoop: Zuid-Afrika en Nederland vanaf 1600(exhibition catalogue), Amsterdam/Nijmegen: Rijksmuseum/Uitgeverij Vantilt, 2017: p. 135

2016

Marlene Dumas. ‘Munch – and why I like him’.The Power of the Avant-Garde (exhibition catalogue), Tielt/Brussels: Lannoo Publishers/Bozar Books, 2016: p. 66

Marlene Dumas, Jan Andriesse. ‘Talking about Katz’.Quick Light (exhibition catalogue), London: Serpentine Galleries / Koenig Books, 2016

2015

Marlene Dumas. ‘Marlene Dumas zu Millet’.Archiv der Träume: Meisterwerk aus dem Musée d’Orsay. Ausgewählt und interpretiert für Werner Spies, München: Sieveking, 2015: p. 212

Marlene Dumas. ‘Een vrouw die schildert’.F-boek, Amsterdam: Atria, 2015: p. 242-246 [written in 2014]

2014

Marlene Dumas. ‘About ‘Saddam Hussein Captured”.Les archives du rêve. Dessins du musée d’Orsay: carte blanche à Werner Spies, Paris: Malakoff/Éditions Hazan, 2014: p. 272 [French translation]

Marlene Dumas. ‘Frank Stella: Notes on All is Fair in Love and War’.Marlene Dumas. Sweet Nothings. Notes and Texts 1982-2014, London: Koenig Books, 2014: p. 200

Marlene Dumas. ‘Jan Hoet 1936-2014’. Artforum(Summer 2014): p. 91

Marlene Dumas. ‘Nelson Rolihlahla Dalibhunga Mandela’.Africa Magazine ZAM (January 2014): p. 6-7

Marlene Dumas. ‘Non-traditional Relationships’.Manifesta 10: The European Biennial of Contemporary Art (exhibition catalogue), London: Koenig Books, 2014: p. 92

Marlene Dumas.On Thomas Houseago. Unpublished, 2014

Marlene Dumas. ‘Why I called a painting of mine “Reinhardt’s Daughter”’.The Brooklyn Rail, 16 January 2014 (online)

2013

Marlene Dumas. ‘Natasja in Wonderland’.The Crying Light, Dublin: Royal Hibernian Academy, 2013: p. [9]

Marlene Dumas. ‘Marlene Dumas over haar ‘Het Laatste Avondmaal”.Liter. Literair Tijdschrift, vol. 16, no. 70 (June 2013)

2012

Marlene Dumas, Jonny Costantino. ‘About Cover: Marlene Dumas – La pittrice del male. Film List. Su Antonioni’.Rifrazioni Dal Cinema All ‘Otre, vol. 4, no. 10 (September 2012): p. 1-9

Marlene Dumas. ‘An Artwork of the 19th century that was and stays important to me. Even Fairies can be ok’.Frieze Masters. Ideas from the Past in the art of the Present, London: Frieze Publishing, 2012: p. 87

Marlene Dumas. ‘Every Prize Has its Price’.De Witte Raaf, no. 160 (November-December 2012): p. 1

Marlene Dumas. ‘Foto’s die van boeken houden en films die van foto’s houden / Photographs that like Books and Films that like Photographs’.Look. Ed! Images from the Archive of Ed van der Elsken selected by Marlene Dumas, Rineke Dijkstra and Marijke van Warmerdam, Amsterdam: Annet Gelink Gallery, 2012

Marlene Dumas. ‘Scritto nelle Stelle / Written in the Stars’.Sorte(exhibition catalogue), Milan: Silvana, 2012: p. 36-43

Marlene Dumas, Dominic van den Boogerd. ‘Brief van de dag: ‘Snel en onopgesmukt”.de Volkskrant, 11 June 2012: p. 23

Marlene Dumas. ‘Luc’.AnOther Magazine(18 October 2012)

Marlene Dumas. ‘Marlene Dumas over Mike Kelley’.NRC Handelsblad, 13 December 2012: p. [n.p.]

2011

Marlene Dumas. ‘Een laatste verhaaltje’.Koninklijke Prijs voor Vrije Schilderkunst, Amsterdam: Stichting Koninklijk Paleis, 2011: p. 37-39, 41

Marlene Dumas. ‘Koninginnen, sterren en schilders’.Koninklijke Prijs voor Vrije Schilderkunst, Amsterdam: Stichting Koninklijk Paleis, 2011: p. 34-36, 40

Marlene Dumas.Venice is a beautiful place to be (playing together and against). Unpublished, 2011 Marlene Dumas. ‘Mijn vorming gun ik elk talent’.NRC Handelsblad, 18 June 2011: p. 33

2010

Marlene Dumas. ‘Against the Wall. Letter to David’.Against the Wall (exhibition catalogue), Amsterdam/Santa Fe: Idea Books Distribution/Radius Books, 2010: p. 49-55

Marlene Dumas. ‘Alice doesn’t live here anymore’.Alice Neel: Painted Truths, Houston/New Haven: The Museum of Fine Arts/Yale University Press, 2010: p. 94-95

Marlene Dumas. ‘Contra o Muro’.Contra o Muro(exhibition catalogue), Porto: Museu Serralves, 2010: p. 57

Marlene Dumas. ‘De kleur van hoop. Jean-Auguste-Dominique Ingres, La Princesse de Broglie (The Portrait of Joséphine Eléonore Marie Pauline de Galard de Brassac de Béarn, Princesse de Broglie)’.Nexus. Hoop en vertroosting. De muzen spreken., no. 55 (2010): p. 33-38

Marlene Dumas. ‘For Whom the Bell tolls’.Contra o Muro(exhibition catalogue), Porto: Museu Serralves, 2010: p. 80

Marlene Dumas. ‘Two of a kind’.Contra o Muro(exhibition catalogue), Porto: Museu Serralves, 2010: p. 59

2009

Marlene Dumas. ‘De Derde Wereldoorlog / The Third World War’. Metropolis M, no. 6 (December-January [2010] 2009): p. 17-18

2008

Marlene Dumas. ‘Beaches ain’t what they used to be’.Measuring your own Grave(exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 34

Marlene Dumas. ‘Elisabeth Eybers – ’n huldeblyk / Elisabeth Eybers – a tribute’. Dekat(March-April 2008): p. 76-77

Marlene Dumas. ‘Expiration Dates’. Measuring your own Grave(exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 179

Marlene Dumas. ‘Framing and Naming’.Measuring your own Grave(exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 261

Marlene Dumas. ‘Homage to the Polaroid’.Measuring your own Grave (exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 91

Marlene Dumas. ‘Japan’.Measuring your own Grave(exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 177 [written in Japan in 1998]

Marlene Dumas. ‘Measuring your Own Grave’.Measuring your own Grave (exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 194

Marlene Dumas. ‘North Africa (Woman of Algiers)’.Measuring your own Grave (exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 177

Marlene Dumas. ‘Skull of a Mother’. .ZA: Young Art from South Africa (exhibition catalogue), Milan: Silvana Editoriale, 2008

Marlene Dumas. ‘Southern Comfort’. Measuring your own Grave(exhibition catalogue), Los Angeles: MOCA and D.A.P. (Distributed Art Publishers)/MOMA, 2008: p. 179

Marlene Dumas, et al.. ‘The Artists’ Artist’.Artforum, vol. 47, no. 4 (December 2008): p. 98-211

Marlene Dumas. ‘Waarom Beckmann nu in Nederland’.Bulletin van de Vereniging Rembrandt, vol. 18, no. 1 (Spring 2008)

Marlene Dumas. ‘Intimate Relations: Tentoonstelling in Kaapstad en in Johannesburg (2007-2008)’.MY MA SE MA SE MA SE MA: Zuid-Afrikaanse families in verhalen, Amsterdam: Suid-Afrikaanse Instituut, 2008: p. 85-92

2007

Marlene Dumas. ‘Adult Entertainment or what do I do (when you are far away)’.Intimate Relations(exhibition catalogue), Amsterdam/Johannesburg: Roma Publications/Jacana Media, 2007: p. 79

Marlene Dumas. ‘Love Letters’. Intimate Relations(exhibition catalogue), Amsterdam/Johannesburg: Roma Publications/Jacana Media, 2007: p. 51-108

Marlene Dumas, Ralf Rugoff. ‘On Photography and modern Life’.The Painting of Modern Life: 1960s to now (exhibition catalogue), London: Hayward Gallery, 2007: p. 121

Marlene Dumas. ‘On the Drawings of Keren Cytter’.Keren Cytter: The Victim, Vienna: MUMOK Museum Moderner Kunst Stiftung Ludwig Wien, 2007

Marlene Dumas. ‘The Fog of War’. Citizens and Subjects: The Netherlands, for Example, Amsterdam: Mondriaan Stichting, 2007: p. 115 [written September 2006]

2006

Marlene Dumas. ‘And God said – I told you so / En God zei – Ik zei het je toch’. Kitsch Unedited: Letters and Texts of Friends compiled by Jan Andriesse, Tilburg: De Pont Museum, 2006: p. 21-23

Marlene Dumas. ‘Man Kind’.Man Kind (exhibition catalogue), Amsterdam: Galerie Paul Andriesse, 2006: p. 3-4

Marlene Dumas. ‘Melissa Gordon: Collateral Damage (or, Paintings of Pictures that Show a Painting isn’t a Picture)’.Wild at Heart, Amsterdam: Stichting Ateliers ’63, 2006: p. 39-45

Marlene Dumas. ‘Sterk en schaamteloos’.NRC Handelsblad: M Special Rembrandt 1606-1669, 7 January 2006: p. 7

2005

Marlene Dumas. ‘De kunstenaar als participerende waarnemer’.Maar wie ik ben gaat niemand wat aan, Breda: GGZ Regio Breda, 2005: p. 16-26

Marlene Dumas. ‘Drie vrouwe en ek’. Black and White and a little bit of Colour (exhibition catalogue), Arnhem: Museum voor Moderne Kunst Arnhem, 2005: p. 6

Marlene Dumas. ‘Pretty Boys’.Respect! Forms of Community: Contemporary Art from the Netherlands(exhibition catalogue), Amsterdam: Mondriaan Foundation, 2005: p. 92

Marlene Dumas. ‘Tomorrow’.M+M Marlene Dumas + Marijke van Warmerdam (exhibition catalogue), Cologne: Verlag der Buchhandlung Walther König, 2005: p. 75

2004

Marlene Dumas. ‘Immaculate’.Frieze, no. 80 (January-February 2004): p. 88-89

Marlene Dumas. ‘Seeing is not-believing’.The Second Coming (exhibition catalogue), London: Frith Street Gallery, 2004: p. [5]

Marlene Dumas. ‘The Death of the Author’.Frieze, no. 80 (January-February 2004): p. 86-87

Marlene Dumas. ‘The Right to Be Silent: a Conversation on Elitism and accessibility’.Frieze, no. 80 (January-February 2004): p. 84-85

Marlene Dumas. ‘The Second Coming’. The Second Coming(exhibition catalogue), London: Frith Street Gallery, 2004: p. [4]

Marlene Dumas. ‘Behold a Muslim at Christmas’.The Guardian, 21 December 2004: p. 12

2003

Marlene Dumas. ‘About Time and Again’.Focus: Marlene Dumas, Time and Again (exhibition catalogue), Chicago: The Art Institute of Chicago, 2003

Marlene Dumas. ‘Beter kun je het niet krijgen – Eerst van Gogh / As good as it gets – Van Gogh is the one’. GoghModern: Vincent van Gogh and Contemporary Art, Amsterdam/Rotterdam: Van Gogh Museum/Stedelijk Museum/NAi Publishers, 2003: p. 99-101

Marlene Dumas. ‘Suspect, Simplicity and About Heaven’.Marlene Dumas: Suspect(exhibition catalogue), Milan/London: Skira/Thames and Hudson, 2003: p. 35, 46, 66, 77, 79

Marlene Dumas. ‘Wet Dreams’.Marlene Dumas: Wet Dreams – Watercolors (exhibition catalogue), Ravensburg: Städtische Galerie Ravensburg/Hatje Cantz, 2003: p. 46-47

2002

Marlene Dumas. ‘A Happy End Dulls The Viewer’.Early Works: De Ateliers 1998-2002, Amsterdam: Stichting Ateliers ’63, 2002: p. 21

Marlene Dumas. ‘De Ateliers and Women’.Early Works: De Ateliers 1998-2002, Amsterdam: Stichting Ateliers ’63, 2002: p. 20

Marlene Dumas. ‘It’s not Paradise I want, but heaven, Marlene’.The Paradise (4): Marlene Dumas (Home, Marlene Dumas, Heaven)(exhibition catalogue), Dublin: The Douglas Hyde Gallery, 2002

Marlene Dumas. ‘Wake-up Call’.Early Works: De Ateliers 1998-2002, Amsterdam: Stichting Ateliers ’63, 2002: p. 20

Marlene Dumas. ‘You Know You Are a Foreigner’.Early Works: De Ateliers 1998-2002, Amsterdam: Stichting Ateliers ’63, 2002: p. 21

Marlene Dumas. ‘Inquiry: Learning from Documenta / Umfrage: Learning from Documenta’.Parkett, no. 64 (2002): p. 166

2001

Marlene Dumas. ‘Ne donnez pas des Noms / Name no Names’.Name no Names (exhibition catalogue), Paris: Centre Pompidou, 2001: p. 29-37 [French translation]

Marlene Dumas. ‘Never say Never or One Drawing too Many’.Marlene Dumas: One Hundred Models and Endless Rejects(exhibition catalogue), Boston/Ostfildern: Institute of Contemporary Art/Hatje Cantz Verlag, 2001: p. 25-29

Marlene Dumas. ‘Topless Bars and Structural Skeletons (it’s not a grid, it’s an irritation)’.Name no Names (exhibition catalogue), Paris: Centre Pompidou, 2001: p. 36 [French translation]

Marlene Dumas. ‘One-liners’.Ipsamas: An Album of Photographs with Texts by John Hutchinson and Ulrich Loock, One-liners by Susan Tiger and Marlene Dumas, Amsterdam: De Verbeelding, 2001

2000

Marlene Dumas. ‘Jan Andriesse: Future Perspective, or why he’s not the Man they say he is / Toekomstperspectief’.Jan Andriesse, Dordrecht: Dordrechts Museum, 2000: p. 101

Marlene Dumas. ‘Jesus Christus 2000’. Enlighten my Eyes / Verlicht mijn ogen (exhibition catalogue), Leeuwarden: Commissie kerk en kunst van de Grote Kerk, 2000: p. 17

Marlene Dumas. ‘Live Acts. Silent Studios’.strippinggirls: Anton Corbijn, Marlene Dumas(exhibition catalogue), Amsterdam: Stichting Actuele Kunstdocumentatie, 2000: p. 52

Marlene Dumas. ‘Sister Morphine’.Lust & Gratie, vol. 17, no. 65 (2000): p. 48-49

Marlene Dumas. ‘The Artists in their own Words: Titels, eerste name en verkleinwoordjes’.Gagarin, vol. 1, no. 1 (May 2000): p. 38-41

Marlene Dumas. ‘The Comeback of Memory’.Mixing Memory and Desire (exhibition catalogue), Luzern: Neues Kunstmuseum, 2000: p. 73

1999

Marlene Dumas. ‘A Gothic Story’. Negotiating small Truths(exhibition catalogue), Austin: Jack S. Blanton Museum of Art, University of Texas at Austin, 1999: p. 33

Marlene Dumas. ‘A true Hedonist is hard to find’.Marlene Dumas: MD (exhibition catalogue), Antwerp/London/Høvikodden: MUKHA/Camden Arts Centre/Henie Onstad Kunstsenter, 1999: p. 56-57

Marlene Dumas. ‘El beneficio de la duda / The Benefit of the Doubt’.Cinco continentes y una ciudad / Five continents and one city(exhibition catalogue), Mexico City: Gobierno del Distrito Federal, 1999: p. 192

Marlene Dumas. ‘Everybody likes a good figure’.Figuration(exhibition catalogue), Zurich: Oehrli, 1999: p. 22

Marlene Dumas. ‘Fame and Fortune’. Marlene Dumas, London: Phaidon, 1999: p. 138

Marlene Dumas. ‘Improper Relationships’.Marlene Dumas, London: Phaidon, 1999: p. 142

Marlene Dumas. ‘MD-light’.Marlene Dumas: MD(exhibition catalogue), Antwerp/London/Høvikodden: MUKHA/Camden Arts Centre/Henie Onstad Kunstsenter, 1999: p. 7

Marlene Dumas. ‘Do the right Thing’. Grey Areas: Representation, Identity, and Politics in Contemporary South African Art, Rivonia-Johannesburg: Chalkham Hill Press, 1999: p. 129-131

1998

Marlene Dumas. ‘A Painting needs a Wall to object to’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 100-101

Marlene Dumas. ‘A united Europe’. Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 131

Marlene Dumas. ‘Always True’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 137

Marlene Dumas. ‘Deadlines and Airmiles’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 128

Marlene Dumas. ‘Dutch Art?’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 83

Marlene Dumas. ‘No more Interviews’. Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 38

Marlene Dumas. ‘Not from Here (I)’. Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 84

Marlene Dumas. ‘Notes on the Private versus the Public’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 37

Marlene Dumas. ‘The beginning of Love Stories and the End of cultural Privacy’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 92

Marlene Dumas. ‘Valentines Day’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 136

Marlene Dumas. ‘Women’.Sweet Nothings: Notes and Texts by Marlene Dumas, Amsterdam: Uitgeverij De Balie/Galerie Paul Andriesse, 1998: p. 117

1997

Marlene Dumas. ‘A Nice Girl like You’. Portikus Frankfurt am Main 1987–1997, Frankfurt am Main: Portikus, 1997: p. 257

Marlene Dumas. ‘Art and Prostitution’. Auf dem Strich, Arbeiten zum Thema Prostitution(exhibition catalogue), Kiel: Kulturviertel in Sophienhof Kiel, 1997

Marlene Dumas. ‘As the World Turns’. The Bread and Butter Stone, The Douglas Hyde Gallery on Memory, Dublin: Douglas Hyde Gallery, 1997: p. [n.p.]

Marlene Dumas. ‘First Flights Overseas’.The Bread and Butter Stone, The Douglas Hyde Gallery on Memory, Dublin: Douglas Hyde Gallery, 1997: p. [n.p.]

Marlene Dumas. ‘Rejects and Reasons’. Auf dem Strich, Arbeiten zum Thema Prostitution(exhibition catalogue), Kiel: Kulturviertel in Sophienhof Kiel, 1997

Marlene Dumas. ‘Marijke van Warmerdam’.Marijke van Warmerdam: Single, Double, Crosswise, Eindhoven: Lecturis, 1997: p. 52

1996

Marlene Dumas. ‘International Biennales’.Manifesta 1, Rotterdam: Foundation European Art Manifestation, 1996: p. 7-11

Marlene Dumas. ‘Meesterwerken en Miss Wereld’.Openbaar Kunstbezit – Kunstschrift, vol. 40, no. 6 (November-December 1996): p. 28-29

Marlene Dumas. ‘Pin-Up’.Pin-Up(exhibition catalogue), Tienen: Stedelijk Museum Het Toreke, 1996

Marlene Dumas. ‘The 7 Year Itch’.Art Gallery Exhibiting: The Gallery as a Vehicle for Art, Amsterdam: Galerie Paul Andriesse/Uitgeverij de Balie, 1996: p. 177

Marlene Dumas. ‘The Perfect Lover, The Absent Lover and the Daughter’. Marlene Dumas(exhibition catalogue), London: Tate Gallery London, 1996: p. 2-4

Marlene Dumas, et al. ‘Wat is kunst?’.Kunstschrift, vol. 40, no. 6 (November-December 1996): p. 6-16; 22-32; 38-54; 60-68

Marlene Dumas. ‘Youth and Other Demons’.Marlene Dumas: Youth and other Demons(exhibition catalogue), Tokyo: Galery Koyanagi, 1996: p. 2

Marlene Dumas. ‘The wrong Questions ‘.L & B (Lier en Boog -The Intellectual Conscience of Art), vol. 11 (1996): p. 28

Marlene Dumas. ‘A brush with Genius: Marlene Dumas on Goya’s The Fates’.The Guardian, 4 June 1996: p. 10

1995

Marlene Dumas. ‘Bacon and Dumas, or the Discomfort of being ‘coupled”. Marlene Dumas / Francis Bacon(exhibition catalogue), Malmö/Milan: Malmö Konsthall / Castello di Rivoli, 1995: p. 27-39

Marlene Dumas. ‘Buiten Beskerming van die Wet’.Africus. Johannesburg Biennale (exhibition catalogue), Johannesburg: Johannesburg Biennale, 1995: p. 186

Marlene Dumas. ‘Models’.Marlene Dumas: Models(exhibition catalogue), Stuttgart/Salzburg: Oktagon/Salzburger Kunstverein, 1995: p. [passim]

Marlene Dumas. ‘The next Generation’. Dutch Biennale Bulletin, Johannesburg: Africus, Johannesburg Biennale, 1995

Marlene Dumas. ‘Three Maria’s are Better than One’.Dumas, Roosen, Van Warmerdam(exhibition catalogue), Rotterdam/Amsterdam: Witte de With, Center for Contemporary Art in collaboration with the Mondriaan Foundation, 1995: p. 30

1994

Marlene Dumas. ‘Jesus, the Perfect Lover’.4 x 1 im Albertinum, Marlene Dumas, Günther Fruhtrunk, Louise Lawler, Marcel Odenbach(exhibition catalogue), Dresden: Staatliche Kunstsammlungen, 1994: p. 12-13

Marlene Dumas. ‘Là où est le coeur, c’est chez soi / Home is where the Heart is’. Du concept à l’image: Art Pays Bas au XXème Siecle(exhibition catalogue), Paris: Musée d’Art Moderne de la Ville de Paris, 1994: p. 82 [French translation]

Marlene Dumas. ‘Lovesick’.Chlorosis – Marlene Dumas(exhibition catalogue), Dublin: The Douglas Hyde Gallery, 1994: p. 8

Marlene Dumas. ‘Not from Here (II)’. Guia Mensual de las Artes, no. 13 (1994): p. 1-2

Marlene Dumas. ‘The Hatred of Others’.Dialogue with the Other (exhibition catalogue), Odense: Kunsthallen Brandts Klaedefabrik, 1994: p. 62

Marlene Dumas. ‘Geef mij maar wat Guépin niet wil’.Het Parool, 29 January 1994: p. 6

1993

Marlene Dumas. ‘Blind Dates and drawn Curtains’.Marlene Dumas (exhibition catalogue), Philadelphia: Goldie Paley Gallery at Moore College of Art and Design, 1993: p. 1

Marlene Dumas. ‘Dead Artists’.Der zerbrochene Spiegel: Positionen zur Malerei(exhibition catalogue), Vienna/Hamburg: Kunsthallen Vienna/Deichtorhallen, 1993: p. 10

Marlene Dumas. ‘Die Künstlerin: Eine Brille für die Kunst’.Berner Kunstmitteilungen, no. 289 (1993): p. 9 [German translation]

Marlene Dumas. ‘Drawings and the People who look at them’.Fön, no. 3 (July-August 1993): p. 2

Marlene Dumas. ‘Female’.The 21st Century: Into the Future with Paracelsus / Das 21. Jahrhundert: Mit

Paracelsus in die Zukunft(exhibition catalogue), Basel: Kunsthalle Basel, 1993: p. 124

Marlene Dumas. ‘Give the People what they want’.De Witte Raaf, no. 42 (March-April 1993): p. 10

Marlene Dumas. ‘How blue can a white Man get? / Wie wehmütig kann ein Weisser sein?’.Parkett, no. 38 (December 1993): p. 123 [last section p. 123]

Marlene Dumas. ‘It’s easy as 1, 2, 3 / Es ist so einfach wie 1, 2, 3’.Parkett, no. 38 (December 1993): p. 123 [first section page 123]

Marlene Dumas. ‘The Blonde, the Brunette and the Black Woman’.Der zerbrochene Spiegel: Positionen zur Malerei(exhibition catalogue), Vienna/Hamburg: Kunsthallen Vienna/Deichtorhallen, 1993: p. 154-155

Marlene Dumas. ‘To Life / Auf das Leben’.Über-Leben(exhibition catalogue), Bonn: Bonner Kunstverein, 1993: p. 72, 151

Marlene Dumas. ‘Women and Painting’.Parkett. Cherchez la Femme Peintre! A Parkett Inquiry, no. 37 (1993): p. 140-141

Jolie van Leeuwen. ‘Marlene Dumas: The Good, the Bad and the Ugly’. Marlene Dumas(exhibition catalogue), Philadelphia: Goldie Paley Gallery at Moore College of Art and Design, 1993: p. [n.p]

Marlene Dumas. ‘Eerste ervaring met een Fellini-film: La Strada’.NRC Handelsblad, 1 November 1993: p. 7

1992

Marlene Dumas. ‘Art is’.Inscapes (exhibition catalogue), Amsterdam: De Appel, 1992: p. [n.p.]

Marlene Dumas. ‘Miss Interpreted’.Miss Interpreted, Marlene Dumas (exhibition catalogue), Eindhoven: Stedelijk van Abbemuseum, 1992: p. 25-80

Marlene Dumas. ‘My Brain’.Brain, Internal affairs: encyclopedie van het AHHA moment(exhibition catalogue), Gorinchem: Beatrixziekenhuis, 1992

Marlene Dumas. ‘My Thoughts on Big Shows’.Documenta IX (Vol. 2 A-K) (exhibition catalogue), Stuttgart/New York: Edition Cantz/Harry N. Abrams, 1992: p. 140

Marlene Dumas. ‘Why do I Write (about Art) / Waarom schrijf ik (over kunst)’. Kunst & Museumjournaal, vol. 3, no. 4 (1992): p. 44-46

1991

Marlene Dumas. ‘Het kunstwerk als misverstand’.Individu: Duiding, Verboden verbindingen + twijfelachtige Verbanden(exhibition catalogue), Antwerp: ICC, 1991

Marlene Dumas. ‘Marlene Dumas tekent ‘vaders’. onder wie een paar oude bekenden’.Tirade, vol. 35, no. 333 (March-April 1991): p. 112-116

Marlene Dumas.Snelle aantekeningen bij de tentoonstelling ‘The origin of species’. Amsterdam: Galerie Paul Andriesse, 1991

Marlene Dumas. ‘Tekeningen plus tekst’.Tirade, vol. 35, no. 335 (July-August 1991): p. 298-307

1990

Marlene Dumas. ‘Couples’.Couples (exhibition catalogue), Amsterdam: Museum Overholland, 1990: p. 1

Marlene Dumas. ‘Drie tekeningen’.Tirade, vol. 34, no. 331 (November-December 1990): p. 506-508

Marlene Dumas. ‘Tekeningen plus tekst: Grensverleggend + Arbeidsongeschikt’. Tirade, vol. 34, no. 330 (September-October 1990): p. 422-425

Marlene Dumas. ‘The Art of Exhibiting’.Metropolis M, no. 3 (Summer 1990): p. 16-17

Marlene Dumas. ‘The Origin of the Species’.Marlene Dumas: The Origin of the Species(exhibition

catalogue), Munich: Staatsgalerie Moderner Kunst, Bayerische Staatsgemäldesammlungen, 1990

Marlene Dumas. ‘The World is flat’.Over schilderen / On Painting, Amsterdam: De Balie/Rijksakademie, 1990: p. 12-13

Marlene Dumas. ‘Tussen God, Kunst en Waanzin. Renaissance. Een bespreking door Marlene Dumas.’.Ruimte, vol. 7, no. 3 (1990): p. 30-32

Marlene Dumas. ‘De muze is uitgeput’. De Uitputting van de Muze, Amsterdam: W139, 1990: p. 16-25

1989

Marlene Dumas. ‘Die Rückkehr der Nicht-Toten’.Prospect 89: Eine internationale Ausstellung aktueller Kunst(exhibition catalogue), Frankfurt: Frankfurter Kunstverein, 1989: p. 59 [German translation]

Marlene Dumas. ‘From One Dirty Place to Another’.Innodiging voor mooie tentoonstellingen + trio eenzaamheid, Amsterdam: Galerie Paul Andriesse, 1989: p. 40

Marlene Dumas. ‘The Body Guard’. Kapriolen – Zeitgenössische Kunst aus den Niederlanden, Munich: Kunstverein München, 1989: p. 57-59

Marlene Dumas. ‘The Painter kills the Living’.6 Dutch Artists(exhibition catalogue), Edinburgh: The Fruitmarket Gallery, 1989: p. inside front cover [written in 1988]

Marlene Dumas. ‘The Question of Human Pink’.The Question of Human Pink (exhibition catalogue), Bern: Kunsthalle Bern, 1989: p. 18, 28, 34, 48

Marlene Dumas. ‘The Tyranny of Reality and the Autonomy of Painting / Tyrannei der Wirklichkeit oder die Autonomie des Malens’.Jan Andriesse, Cologne: Galerie Maria Wilkens, 1989: p. 1-2

Marlene Dumas. ‘Waiting Rooms (need TV)’.Beeld. Kunst voor de Toekomst. Tijdschrift voor kunst, kunsttheorie en kunstgeschiedenis (Special issue ‘Tekens van Verzet’), vol. 4, no. 1-4 (January 1989): p. n.p. [108]

1988

Marlene Dumas. ‘2 liefdesnotities, tijdloos’.(Ander werk): teksten van kunstenaars in Nederland, Arnhem: Akademie voor Beeldende Kunsten/kaAp, kunst actualiteiten Arnhem produkties, 1988: p. 31

Marlene Dumas. ‘2 taalnotities, Amsterdam 1985’.(Ander werk): teksten van kunstenaars in Nederland, Arnhem: Akademie voor Beeldende Kunsten/kaAp, kunst actualiteiten Arnhem produkties, 1988: p. 33

Marlene Dumas. ‘3 katernnotities, Amsterdam 1983’.(Ander werk): teksten van kunstenaars in Nederland, Arnhem: Akademie voor Beeldende Kunsten/kaAp, kunst actualiteiten Arnhem produkties, 1988: p. 32

Marlene Dumas. ‘Loss of Soul’.Nightfire (exhibition catalogue), Amsterdam: Foundation De Appel, 1988: p. 24

Marlene Dumas. ‘Naked Bodies’. Waiting (for meaning)(exhibition catalogue), Kiel/Schleswig Holstein: Kunsthalle zu Kiel & Schleswig Holsteinischer Kunstverein, 1988: p. 22-23

Marlene Dumas. ‘Ongelijkheid’.Om ‘n sinkende skip blou te verf. Kunst en apartheid, Tilburg: Schouwburg Tilburg, 1988: p. 10

Marlene Dumas. ‘Waarskuwing’. Introductie Blauwbaard club, Amsterdam: S.N., 1988: p. cover

1987

Marlene Dumas. ‘Blinde Vlekken’.De Rijksakademie, vol. 1, no. 3 (November 1987): p. 13

Marlene Dumas. ‘Give em enough Rope’.A priori tekenen = a priori drawing (exhibition catalogue), Amsterdam: Stichting Makkom, 1987: p. 134

Marlene Dumas. ‘Nightmares of Beauty’.Erik Andriesse: schilderijen 1982-1987, Amsterdam: Galerie Paul Andriesse, 1987: p. 3

Marlene Dumas.Notes on my text / No more Interviews / Notes on the Private versus the Public.Amsterdam: Galerie Paul Andriesse, 1987

Marlene Dumas. ‘Selling one’s Soul to the Devil’.Art from Europe(exhibition catalogue), London: The Tate Gallery, 1987: p. 26

Marlene Dumas. ‘The Private versus the Public’.Adam Colton, Marlene Dumas, Daniel Groen, Martin van Vreden (exhibition catalogue), Amsterdam: Art and Project/Galerie Paul Andriesse/Van Krimpen/The Living Room, 1987: p. 8

Marlene Dumas. ‘The Surrealist Tradition’.The Meaning of Drawing: drawings by ten Dutch Artists / A Priori tekenen(exhibition catalogue), The Hague/Amsterdam: Netherlands Office for fine Arts/Makkom, 1987: p. 46, 143

1986

Marlene Dumas.Fear of Babies. Amsterdam: De Expeditie, 1986

Marlene Dumas. ”n meisje vir alle geleenthede’.Het Moment, no. 3 (1986): p. 63-66

Marlene Dumas. ‘p*rnografische Neiging’.Zeven kunstenaars(exhibition catalogue), Leiden: Galerie Academisch Ziekenhuis Leiden, 1986: p. 10

Marlene Dumas. ‘The Intuition of Danger’.Innovation und Tradition: Niederländische Kunst der achtziger Jahre / Vernieuwing en traditie: Nederlandse kunst van de jaren tachtig(exhibition catalogue), Karlsruhe: Badischer Kunstverein, 1986: p. 79

1985

Marlene Dumas. ‘A Title’.The Eyes of the Night Creatures(exhibition catalogue), Amsterdam: Galerie Paul Andriesse, 1985: p. [n.p.]

Marlene Dumas. ‘Laat deze beker aan mij voorbij gaan’.Het Avondmaal (exhibition catalogue), Leeuwarden: Stichting Alde Fryske Tjerken Fryske Kultuerried, 1985

Marlene Dumas. ‘My best Works’.The Eyes of the Night Creatures(exhibition catalogue), Amsterdam: Galerie Paul Andriesse, 1985: p. [n.p.]

Marlene Dumas. ‘Notities’.Fodor, vol. 4, no. 4 (July-August 1985): p. 38-39
Marlene Dumas.

‘The Aim of my Work’.The Eyes of the Night Creatures (exhibition catalogue), Amsterdam: Galerie Paul Andriesse, 1985: p. [n.p.]

Marlene Dumas. ‘The Eyes of the Night Creatures’.The Eyes of the Night Creatures (exhibition catalogue), Amsterdam: Galerie Paul Andriesse, 1985: p. [2]

Marlene Dumas. ‘The Plague Mentality’.René Daniëls, Marlene Dumas, Henk Visch(exhibition catalogue), Krefeld: Galerie Barbara Jandrig, 1985: p. 7

1984

Marlene Dumas. ‘Fader Var’.Vindsulor: Måleri, Skulptur och Video i Holland (exhibition catalogue), Gothenberg: Göteborgs Konsthalle, 1984: p. 25

Marlene Dumas. ‘Love Notes’.The Lava-Edge, Amsterdam/Reykjavik: Fodor/The Living Art Museum, 1984: p. [passim]

Marlene Dumas. ‘On Words and Images’.Im Toten Winkel(exhibition catalogue), Hamburg: Kunstverein und Kunsthaus Hamburg, 1984: p. 49

Marlene Dumas.The Lava – Edge. Amsterdam/Reykjavik: Fodor/The Living Art Museum, 1984

Marlene Dumas. ‘Unsatisfied Desire and the Untrustworthy Language of Art’.Private Symbol, Social Metaphor, 5th Sydney Biennale(exhibition catalogue), Sydney: Biennale and Gallery of New South Wales, 1984: p. [n.p.]

1983

Marlene Dumas. ‘A Fortune for the Mermaid’.Rest risiko: Marlene Dumas, Floor van Keulen, Arno van der Mark, Gerhard Naschberger, Dieter Teusch (exhibition catalogue), Maastricht: Bonnefantenmuseum, 1983

1982

Marlene Dumas. ‘Some Qualities I exhibit’.Junge Kunst aus den Niederlanden,Young art from the Netherlands, Form und / and Expression (exhibition catalogue), Basel: Sonderschau Kunstmesse ART 13’82, 1982: p. 40-43

Marlene Dumas. ‘Statements’.Dutch Art + Architecture Today, no. 12 (December 1982): p. 14-19

1978

Marlene Dumas. ‘Introduction’.Stedelijk Museum Bulletin, no. 9 (September 1978): p. [n.p.]

Selected Bibliography - Marlene Dumas - (2024)

Monographs

Solo Exhibition Catalogues

Group Exhibition Catalogues

Interviews

General Overviews and In-depth Analyses

Reviews

Writings

References