超设计——Beatriz Milhazes (Brazil) 巴西
发起人：xiawei 回复数：2
浏览数：2514
最后更新：2006/08/14 06:29:30 by
[url]http://www.artnet.com/artist/11800/beatriz-milhazes.html
Beatriz Milhazes by Adriano Pedrosa
Beatriz Milhazes, The Prize, 2000, Acrylic on canvas, 39.5 x 39.5". Images courtesy Edward Thorp Gallery, New York.
Beatriz Milhazes's paintings are executed in a small studio next to Rio de Janeiro's luscious botanical gardens. The local flavor found in her work comes not as much from the picturesque location of the artist's studio, but rather through the asphyxiating quality of her complex and overwhelming compositions, which somehow translate the specific site in which they are produced. Despite the multitude of colors and figures, seemingly appropriated from flora and fauna, populating Milhazes's canvases, these paintings are above all urban — in a very Carioca fashion. Rio's long-held image of opulence, epitomized by its beautiful scenery, has become enmeshed with associations of the violence found in its streets. Despite the exuberance and apparent joy in Milhazes's paintings, they are implacably serious, with more than a dash of irony. It is revelatory to discover that they are not particularly easy to live with, and more than one collector has admitted to being misled by their irresistible lure.
In fact, tropical flora and fauna, Brazilian or not, have made their way into Milhazes's canvases through several mediating layers and sources other than nature itself — call it secondhand experience in situ. A certain tropical fruit, for example, has been appropriated from the Dutch painter Albert Eckhout (who traveled through colonial Brazil in the 17th century), and rendered in blue.
Beatriz Milhazes, The Prize, 2000, Acrylic on canvas, 39.5 x 39.5". Images courtesy Edward Thorp Gallery, New York.
Beatriz Milhazes's paintings are executed in a small studio next to Rio de Janeiro's luscious botanical gardens. The local flavor found in her work comes not as much from the picturesque location of the artist's studio, but rather through the asphyxiating quality of her complex and overwhelming compositions, which somehow translate the specific site in which they are produced. Despite the multitude of colors and figures, seemingly appropriated from flora and fauna, populating Milhazes's canvases, these paintings are above all urban — in a very Carioca fashion. Rio's long-held image of opulence, epitomized by its beautiful scenery, has become enmeshed with associations of the violence found in its streets. Despite the exuberance and apparent joy in Milhazes's paintings, they are implacably serious, with more than a dash of irony. It is revelatory to discover that they are not particularly easy to live with, and more than one collector has admitted to being misled by their irresistible lure.
In fact, tropical flora and fauna, Brazilian or not, have made their way into Milhazes's canvases through several mediating layers and sources other than nature itself — call it secondhand experience in situ. A certain tropical fruit, for example, has been appropriated from the Dutch painter Albert Eckhout (who traveled through colonial Brazil in the 17th century), and rendered in blue.
