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Marlene Dumas’s works respond more than ever to the uncertainty and sensuality of the painting process itself. Allowing the structure of the canvases and the materiality of the paint greater freedom to inform the development of her compositions, the artist has likened the creation of these works to the act of falling in love: an unpredictable and open-ended process that is as filled with awkwardness and anxiety as it is with bliss and discovery. Myths & Mortals documents a selection of paintings—debuted in the spring of 2018 at David Zwirner, New York—ranging from monumental nude figures to intimately scaled canvases that present details of bodily parts and facial features. Several nearly ten-foot-tall paintings focus on individual figures, including a number of male and female nudes and a seemingly solemn bride, whose expression is obscured behind a floor-length veil. Like the Greek gods and goddesses, the figures in these paintings are at once larger than life and overwhelmingly human. The smaller-scale paintings—referred to by the artist as “erotic landscapes”—present a variety of fragmentary images: eyes, lips, nipples, or lovers locked in a kiss. Evident across all of these works is the artist’s uniquely sensitive treatment of the human form and her constantly evolving experimentation with color and texture. Alongside these paintings, Dumas presents an expansive series of thirty-two works on paper originally created for a Dutch translation of William Shakespeare’s narrative poem Venus & Adonis (1593) by Hafid Bouazza (2016). Myths & Mortals is accompanied by new scholarship on the artist by Claire Messud and a text by Dumas herself.
NATIONAL BESTSELLER • This incredible true history of the colonization of Australia explores how the convict transportation system created the country we know today. "One of the greatest non-fiction books I’ve ever read ... Hughes brings us an entire world." —Los Angeles Times Digging deep into the dark history of England's infamous efforts to move 160,000 men and women thousands of miles to the other side of the world in the eighteenth and nineteenth centuries, Hughes has crafted a groundbreaking, definitive account of the settling of Australia. Tracing the European presence in Australia from early explorations through the rise and fall of the penal colonies, and featuring 16 pages of illustrations and 3 maps, The Fatal Shore brings to life the history of the country we thought we knew.
Described by Deborah Solomon in a New York Times profile as “one of contemporary art’s most compelling painters,” Marlene Dumas has continuously explored the complex range of human emotions, often probing questions of gender, race, sexuality, and economic inequality through her dramatic and at times haunting figural compositions. Originally published in 2010 on the occasion of Against the Wall, Dumas’s first solo presentation at David Zwirner in New York, this much sought-after exhibition catalogue—which sold out shortly after publication—has been reprinted to coincide with the artist’s 2014–2015 European retrospective exhibition The Image as Burden, organized by Tate Modern, London in collaboration with the Stedelijk Museum, Amsterdam and the Fondation Beyeler, Basel. Throughout her career, the internationally renowned artist has continually created lyrically charged compositions that eulogize the frailties of the human body, probing issues of love and melancholy. At times her subjects are more topical, merging socio-political themes with personal experience and art-historical antecedents to reflect unique perspectives on the most salient and controversial issues facing contemporary society. The large-scale works included in Against the Wall are primarily based on media imagery and newspaper clippings documenting the conflict between Israel and Palestine, exploring the tension between the photographic documentation of reality and the constructed, imaginary space of painting. The Wall, the painting that began the series, at first appears to present a scene at the Western Wall (also known as the Wailing Wall), an important site of religious pilgrimage located in Jerusalem. However, this work is based upon a photograph from a newspaper that portrayed a group of Orthodox Jews on their way to pray at Rachel’s Tomb in Bethlehem. Through her delicate treatment of every scene, Dumas destabilizes preconceived notions about what, in fact, is being pictured—engaging the often ambiguous nature of ideas like truth or justice. “In a sense they are my first landscape paintings,” Dumas further notes in the catalogue, “or should I say ‘territory paintings.’ That is why they are so big.” The somber color plates reproduced in the publication are given context by Dumas’s own musings, a text framed as a letter to David Zwirner in which she tries to tell him “about the ‘why’ ” of this powerful series.
NEW YORK TIMES BESTSELLER • Finalist for the PEN/USA Award in Creative Nonfiction, the Thurber Prize for American Humor, and the Audie Award in Biography/Memoir This Random House Reader’s Circle edition includes a reading group guide and a conversation between Firoozeh Dumas and Khaled Hosseini, author of The Kite Runner! “Remarkable . . . told with wry humor shorn of sentimentality . . . In the end, what sticks with the reader is an exuberant immigrant embrace of America.”—San Francisco Chronicle In 1972, when she was seven, Firoozeh Dumas and her family moved from Iran to Southern California, arriving with no firsthand knowledge of this country beyond her father’s glowing memories of his graduate school years here. More family soon followed, and the clan has been here ever since. Funny in Farsi chronicles the American journey of Dumas’s wonderfully engaging family: her engineer father, a sweetly quixotic dreamer who first sought riches on Bowling for Dollars and in Las Vegas, and later lost his job during the Iranian revolution; her elegant mother, who never fully mastered English (nor cared to); her uncle, who combated the effects of American fast food with an army of miraculous American weight-loss gadgets; and Firoozeh herself, who as a girl changed her name to Julie, and who encountered a second wave of culture shock when she met and married a Frenchman, becoming part of a one-couple melting pot. In a series of deftly drawn scenes, we watch the family grapple with American English (hot dogs and hush puppies?—a complete mystery), American traditions (Thanksgiving turkey?—an even greater mystery, since it tastes like nothing), and American culture (Firoozeh’s parents laugh uproariously at Bob Hope on television, although they don’t get the jokes even when she translates them into Farsi). Above all, this is an unforgettable story of identity, discovery, and the power of family love. It is a book that will leave us all laughing—without an accent. Praise for Funny in Farsi “Heartfelt and hilarious—in any language.”—Glamour “A joyful success.”—Newsday “What’s charming beyond the humor of this memoir is that it remains affectionate even in the weakest, most tenuous moments for the culture. It’s the brilliance of true sophistication at work.”—Los Angeles Times Book Review “Often hilarious, always interesting . . . Like the movie My Big Fat Greek Wedding, this book describes with humor the intersection and overlapping of two cultures.”—The Providence Journal “A humorous and introspective chronicle of a life filled with love—of family, country, and heritage.”—Jimmy Carter “Delightfully refreshing.”—Milwaukee Journal Sentinel “[Funny in Farsi] brings us closer to discovering what it means to be an American.”—San Jose Mercury News
The martial arts novel is one of the most distinctive and widely-read forms of modern Chinese fiction. John Christopher Hamm offers the first in-depth English-language study of this fascinating and influential genre, focusing on the work of its undisputed twentieth-century master, Jin Yong.
WINNER OF THE PULITZER PRIZE FOR BIOGRAPHY • ONE OF ESQUIRE’S BEST BIOGRAPHIES OF ALL TIME General Alex Dumas is a man almost unknown today, yet his story is strikingly familiar—because his son, the novelist Alexandre Dumas, used his larger-than-life feats as inspiration for such classics as The Count of Monte Cristo and The Three Musketeers. But, hidden behind General Dumas's swashbuckling adventures was an even more incredible secret: he was the son of a black slave—who rose higher in the white world than any man of his race would before our own time. Born in Saint-Domingue (now Haiti), Alex Dumas made his way to Paris, where he rose to command armies at the height of the Revolution—until he met an implacable enemy he could not defeat. The Black Count is simultaneously a riveting adventure story, a lushly textured evocation of 18th-century France, and a window into the modern world’s first multi-racial society. TIME magazine called The Black Count "one of those quintessentially human stories of strength and courage that sheds light on the historical moment that made it possible." But it is also a heartbreaking story of the enduring bonds of love between a father and son.