| inbluevt | Date: Sunday, 2013/10/13, 0:10 AM | Message # 1 | DMCA |
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In a pale lavender blouse under a gray blazer, Beatriz Milhazes is a portrait in understatement. Soft-spoken and with a bonnet of brown curls, she might be a docent or an art teacher on a class tour. But the bustle of museum handlers orbiting around her today and the scrum of reporters and television crews stalking the corridors of the Rio de Janeiro gallery quickly shatter the idyll.
"As a plastic artist you never think you're going to be in the spotlight," Milhazes tells The Daily Beast on a recent morning in Rio de Janeiro. We have fled the crowded gallery showcasing her career to a quiet room on the top floor of the Paço Imperial, a 18th century palace converted to a museum in downtown Rio. This is the last in a series of interviews for the week, and Milhazes is savoring the rare moment of quiet. "Now I guess it's part of my life." Judging from the reception in Rio, and beyond, that is unlikely to change anytime soon.
For the last two decades, Milhazes has been quietly raising the bar for the Latin American art world. More recently, her paintings have shattered auction records, floored critics, and mobilized
dealers and curators from Tokyo to Chicago. In 2009, the Paris based Fondation Cartier dedicated an exhibit to Milhazes. She represented Brazil at the 2003 Venice Biennalle. She designed a wall mural for the restaurant at the Tate Modern and was commissioned to create 19 separate vaulted panels for the Gloucester Road station of the London Underground.
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Message edited by inbluevt - Sunday, 2013/10/13, 0:16 AM |
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| Keithfan | Date: Wednesday, 2013/10/16, 8:48 PM | Message # 2 | DMCA |
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I like the spirit of her art! Very playful and graphic! Thanks for posting this, blue!
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