Preview our Spring 2024 catalog, featuring more than 500 new books on art, photography, design, architecture, film, music and visual culture.
EDITORA COBOGó
Beatriz Milhazes: Collages
Edited by Frédéric Paul. Interview by Richard Armstrong.
This is the first book on the collages of Brazilian artist Beatriz Milhazes (born 1960). During a residency in Brittany, in 2003, Milhazes offered chocolates and sweets to the art center team, asking them to return the wrapping papers afterward. From these the artist commenced a new project: her collages. Until this point, Milhazes had considered collage a secondary activity, a way of drafting her paintings. With time, her collage technique developed along its own path.
“Collages have a kind of dialogue with an imaginary journal,” she writes. “Collected papers come from a variety of interests: sometimes it’s an aesthetic attraction, but other times they’re part of a routine, such as with chocolate wrapping paper or cuttings remaining from existing impressions. That’s why composition in collage creates a dialogue that’s exclusive to collages.” As Frédéric Paul, the book’s editor, observes, by using disposable ingredients in her collages, Milhazes emphasizes the acceleration of cycles of taste. “The frivolity of sweets and shopping express the frivolous versatility of trend indicators. They are also, surely, an expression of the assumed decorative frivolity. Milhazes’s work has the extraordinary complexity of simple things and faces us with a breathtaking plastic evidence.”
"First Flower" (2010/2014) is reproduced from 'Beatriz Milhazes: Collages.'
If ever you're feeling down, pick up a copy of Beatriz Milhazes: Collages, Editora Cobogó's effervescent new collection of the Brazilian artist's collages made from candy wrappers gathered during a residency in Brittany, among other materials. In a published interview with Richard Armstrong, Milhazes comments, "The collages have a kind of a dialogue with a diary, but an imaginary one. The papers collected come from a variety of interest: sometimes an aesthetic attraction, some other part of a routine, like chocolate wrappers or cut-outs leftover from existing prints. Then the construction of the collage composition creates a dialogue that only exists in the collage. Painting is something else. It creates a process memory. For many years, I entered the studio every day with the motivation of painting a white painting, a painting based on white color. I haven't done it yet, but that memory of some 'white feeling' was the reference to develop a strong and contrasting palette of colors." Featured image is "Ouro Branco," or "White Gold," (2006). continue to blog
"I've been inspired by the four seasons," Beatriz Milhazes is quoted in Editora Cobogó's wonderful new book of the artist's collages. "Nature changes from one season to another and often motivates me to be an artist and develop things using this feeling. It probably comes from my passion for opera. Very often classical composers worked with the change of the seasons and how it influenced the drama of the characters. It is about creating areas of importance and how they can dialogue together, how they can make a composition from their own temperature and intensity." Featured image is "Mundy" (2011). continue to blog
FORMAT: Hbk, 8.75 x 9.5 in. / 240 pgs / 104 color. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $69.95 GBP £45.00 ISBN: 9788555910647 PUBLISHER: Editora Cobogó AVAILABLE: 1/22/2019 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Out of stock indefinitely AVAILABILITY: Not available TERRITORY: WORLD
Published by Editora Cobogó. Edited by Frédéric Paul. Interview by Richard Armstrong.
This is the first book on the collages of Brazilian artist Beatriz Milhazes (born 1960). During a residency in Brittany, in 2003, Milhazes offered chocolates and sweets to the art center team, asking them to return the wrapping papers afterward. From these the artist commenced a new project: her collages. Until this point, Milhazes had considered collage a secondary activity, a way of drafting her paintings. With time, her collage technique developed along its own path.
“Collages have a kind of dialogue with an imaginary journal,” she writes. “Collected papers come from a variety of interests: sometimes it’s an aesthetic attraction, but other times they’re part of a routine, such as with chocolate wrapping paper or cuttings remaining from existing impressions. That’s why composition in collage creates a dialogue that’s exclusive to collages.” As Frédéric Paul, the book’s editor, observes, by using disposable ingredients in her collages, Milhazes emphasizes the acceleration of cycles of taste. “The frivolity of sweets and shopping express the frivolous versatility of trend indicators. They are also, surely, an expression of the assumed decorative frivolity. Milhazes’s work has the extraordinary complexity of simple things and faces us with a breathtaking plastic evidence.”
