{"id":2129,"date":"2020-12-07T18:43:47","date_gmt":"2020-12-07T18:43:47","guid":{"rendered":"http:\/\/dotweb.com.br\/desenv?page_id=2129"},"modified":"2024-07-31T01:28:25","modified_gmt":"2024-07-31T01:28:25","slug":"bibliografia-provisoria","status":"publish","type":"page","link":"https:\/\/beatrizmilhazes.com\/?page_id=2129&lang=en","title":{"rendered":"Bibliography"},"content":{"rendered":"

\u201cIf the 10 new canvases in this show \u2014 her first in New York since 2015 \u2014 aren\u2019t her best yet, they are certainly the best she has yet exhibited in the city. They show her very much in command, expanding her references, tightening her compositions and clarifying her colors into gorgeous paintings\u201d<\/h1>\n<\/div><\/section><\/div>\n
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Smith, Roberta. <\/strong>\u201cWhat to See in N.Y.C. Galleries Right Now\u201d
\nNew York Times, 19 oct 2022.<\/h1>\n<\/div><\/section><\/div>\n

\u201cIf the symphony of colours does not work\u201d, Milhazes remarks, \u201cthe seduction ends.\u201d Milhazes, again: \u201cI am no longer concerned about visual dizziness. I am more concerned with making the eye spin round.\u201d Her pictorial discourse exacerbates excess. Her Works are puzzels, spirals, confusion, vortices, a gathering of dissimilitudes, foliage. \u201cWhen I thought about creating rhythm\u201d, she comments on one of her paintings, \u201cthe image of Mondrian\u2019s Boogie-Woogie came to mind as something with an accelarated rhythm in which the eye cannot keep still\u201d<\/h1>\n<\/div><\/section><\/div>\n
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Herkenhoff, Paulo. <\/strong>Beatriz Milhazes, The Brazilian Trove. Beatriz Milhazes. Birmingham: Ikon Gallery, Birmingham, AL: Birmingham Museum of Art, 2001.<\/h1>\n<\/div><\/section><\/div>\n
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\u201cThe work of Brazilian painter and collage artist Beatriz Milhazes treads a fine line between the cerebral (and occasionally even visually austere) impulses of modernism, and the untutored, celebratory, colour-saturated excess of folk art as it spills in the direction of carnival.\u201d<\/h1>\n<\/div><\/section><\/div>\n
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Glover, Michael. <\/strong>\u201cRio Azul, Beatriz Milhazes, White Cube Bermondsey, London, review: Visually seductive, slightly vertigo-inducing.\u201d Independent, 18 Apr 2018 (Article)<\/a><\/h1>\n<\/div><\/section><\/div>\n
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\u201cMs. Milhazes\u2019s widespread appeal lies in the fact that she is a \u201cglocal\u201d artist, someone whose work is grounded in the international language of modernism while also firmly rooted in her own place and time.\u201d<\/h1>\n<\/div><\/section><\/div>\n
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Kino, Carol.<\/strong> \u201cModern Motifs, with Echoes of Brazil.\u201d The New York Times, 26 Oct 2008: 22 (Article)<\/a><\/h1>\n<\/div><\/section><\/div>\n
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Below you can have access to the bibliography of the artist:<\/p>\n<\/div><\/section>
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