Published by Pace Publishing. Text by Mark Godfrey. Interview by Polly Apfelbaum.
Published in conjunction with the Brazilian artist Beatriz Milhazes’ (born 1960) first solo exhibition at Pace since she joined the gallery in 2020, this book spotlights 10 vibrant, large-scale paintings she created during pandemic quarantine, as well as an immersive multimedia installation titled Gamboa III (2020), which incorporates materials found in carnival props. Including additional images of Milhazes’ previous sculptural works and new texts that illuminate her highly generative practice, the publication immerses readers in the artist’s colorful, spiritual world. An essay by curator Mark Godfrey explores Milhazes' art as it relates to the terms “landscape” and “logo,” “structure” and “spontaneity” and “surface” and “spirituality”; and a conversation between Milhazes and fellow artist Polly Apfelbaum delves into Milhazes’ emergence within the international art scene and her relationship with her practice today.
Published by DelMonico Books/Museu de Arte de São Paulo. Edited with introduction and text by Adriano Pedrosa, Amanda Carneiro, Ivo Mesquita. Text by Estrella de Diego, Isabel Carlos, Jo Applin, Luiza Interlenghi, Yuko Hasegawa.
This is the most comprehensive book to date on Beatriz Milhazes, featuring many previously unpublished paintings and prints. Milhazes, a pivotal figure in contemporary art and the history of abstraction, works with a complex repertoire of images associated with different motifs, origins and sources. She works mainly in painting, printmaking and collage, but also in drawing, sculpture, artist’s books and textiles, among other mediums. Oscillating between abstraction and figuration, geometry and free form, her compositions are intricate, dense, multicolored and literally full of layers—of colors, paints, papers and meanings. Milhazes’ sources are diverse and varied: from modernism to the Baroque, from folk art or "arte popular" to pop culture, from fashion to jewelry, from architecture to abstraction, from the history of art to nature. Her work encompasses multiple references, including the artists Hilma af Klint, Sonia Delaunay, Bridget Riley, Henri Matisse, Tarsila do Amaral and Piet Mondrian. Beatriz Milhazes: Avenida Paulista includes more than 170 works made since 1989, a turning point in Milhazes’ career. It was in that year that she developed the technique she calls “monotransfer,” in which she paints on a sheet of transparent plastic and then decals or transfers the painted and dry element to the canvas. The book provides a unique opportunity to discover her diverse, complex, multifaceted and singular work. Beatriz Milhazes was born in Rio de Janeiro in 1960. Her works can be found in the collections of the Guggenheim, MASP, the Metropolitan Museum of Art, MoMA, Tate and the Centre Pompidou, among others. Milhazes lives and works in Rio de Janeiro.
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.”
PUBLISHER Editora Cobogó
BOOK FORMAT Hardcover, 8.75 x 9.5 in. / 240 pgs / 104 color.
PUBLISHING STATUS Pub Date 1/22/2019 Active
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2019 p. 109
PRODUCT DETAILS ISBN 9788555910647TRADE List Price: $50.00 CDN $69.95 GBP £45.00
AVAILABILITY Out of stock
STATUS: Out of stock
Temporarily out of stock pending additional inventory.
Published by Holzwarth Publications. Interview by Sebastian Preuss.
Characterizing herself as a “conceptual carnevalista,” Beatriz Milhazes (born 1960) merges the bright chromatic exhilarations of her native Brazil with a conscious reappraisal of the history of abstract painting. “I am an abstract painter speaking in an international language,” she declares, “but I am interested in things and forms of behavior that are found only in Brazil.” Applying paint to canvas not with a brush but via the application of plastic sheets, Milhazes has developed a vivacious style that allows her to invest even the most traditional of painterly themes with a freshness and energy. This volume reproduces her epic treatment of the four seasons, inspired by the weather cycles of Rio, where winter registers as a change in mood rather than in temperature: “it’s still hot, but nobody goes to the beach, simply because it is winter.” Also reproduced here are an extraordinary baroque mobile made for the artist’s show at Berlin’s Galerie Max Hetzler and new collages.
Published by Hatje Cantz. Text by Michiko Kono, et al.
Brazilian artist Beatriz Milhazes (born 1960) derives the basic motifs for her colorful, seductive paintings from the tropical flora and fauna of her homeland, juxtaposing a native color palette with explicit borrowings from the western canon (Henri Matisse, Piet Mondrian, Sonia Delaunay). In her lively compositions, abstract ornaments, arabesques, flowers and geometrical shapes pile up vertiginously into rhythmic deluges of bright pattern. Milhazes emerged alongside the Geração Oitenta (1980s Generation) movement, which, in tandem with trends in America and Europe, proclaimed a return to painting after the conceptual austerities of the 1970s. Milhazes’ art vividly expresses this new hedonistic approach to the picture plane, which also recalls something of the spirit of the 1960s Tropicalia artists. This publication presents beautiful reproductions of four new monumental paintings that improvise on the theme of the four seasons, as well as new collages and a mobile sculpture.
Published by Domaine de Kerguehennec. Essays by Simon Wallis, Christian Lacroix and F»d»ric Paul.
Colorful as Carmen Miranda, the paintings of Beatriz Milhazes are a mélange of iconographic Brazilian imagery, drawing from folk art, crafts, jewelry, tropical nature and the splash of carnival, all funneled through a modernist sensibility. Vibrant swirls, bold stripes, and intricate rosettes show both delicacy and sweep in a practice situated somewhere between figuration and abstraction. “Color is the core of my work,” Milhazes says in an extensive interview with fashion designer Christian Lacroix included in this compact catalogue covering paintings from 1996 to 2004, originally exhibited at the Domaine de Kerguehennec in Bignon, France. An essay by Simon Wallis of the Institute of Contemporary Art in London and an introduction by Frédéric Paul place this recent work within the context of her oeuvre.
PUBLISHER Domaine de Kerguehennec
BOOK FORMAT Hardcover, 7 x 9.5 in. / 136 pgs / illustrated throughout.
PUBLISHING STATUS Pub Date 8/15/2005 No longer our product
DISTRIBUTION D.A.P. Exclusive Catalog: FALL 2005 p. 154
PRODUCT DETAILS ISBN 9782906574052TRADE List Price: $27.50 CDN $37.50