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'{{short description|Brazilian artist}} {{Infobox artist | name = Beatriz Milhazes | image = Beatriz Milhares by Christian Gaul 0144.tif | imagesize = 200px | caption = Popeye, acrylic on canvas, 2008 | birth_name = Beatriz Milhazes | birth_date = 1960<ref name="jcg">{{cite web |url=http://www.jamescohan.com/artists/beatriz-milhazes/bio/ |title=Artist Bio / Biblio |year=2009 |publisher=James Cohan Gallery |access-date=3 July 2010 }}</ref> | birth_place = [[Rio de Janeiro]], Brazil<ref name="jcg"/> | field = [[Painting]] | training = | movement = [[Modernism]] | works = ''O Beijo'' (1995),<br/>''Maresias'' (2002),<br/>''Junior Mints'' (2006),<br/>''Baleza Pura'' (2006)<ref name="Holzwarth">{{cite book|last1=Holzwarth|first1=Hans W.|title=100 Contemporary Artists A-Z|date=2009|publisher=Taschen|location=Köln|isbn=978-3-8365-1490-3|pages=378–385|edition=Taschen's 25th anniversary special}}</ref> | patrons = | awards = }} '''Beatriz Milhazes''' (born 1960) is a Brazilian artist. She is known for her work juxtaposing Brazilian cultural imagery and references to western [[Modernist]] painting. Milhazes is a Brazilian-born collage artist and painter known for her large-scale works and vibrant colors. She has been called "Brazil's most successful contemporary painter."<ref>Jane Morris, "Flower Power". ''The Economist: 1843'', August + September 2016, p. 14.</ref> Beatriz Milhazes's practice includes painting, drawing and collage. Characterized by vibrant colours, optical movement and energetic visual cadences, her abstract work fuses a diverse repertoire of images and forms, combining elements from her native Brazilian context with European abstraction.<ref name=":0">{{Cite web |title=Symbiosis - Artists |url=https://www.japanhousela.com/exhibitions/symbiosis-living-island-inujima-art-house-project/artists/ |access-date=2024-03-01 |website=JAPAN HOUSE (Los Angeles) |language=en}}</ref> As a painter, Beatriz Milhazes uses a unique transfer technique, first painting on plastic sheets before peeling away the dried shapes and collaging them onto the canvas. When she peels the plastic away, the resulting image is superimposed onto the canvas. For these paintings, as well as her collages, prints, and installations, Milhazes draws on a wide range of aesthetic traditions, including folk and decorative art, European modernism, and Antropofagia, a movement founded in the late 1920s that proposed “cannibalizing” the supposedly high-minded European traditions to create a distinctly Brazilian Culture.<ref>{{Cite web |last=Margolis |first=Mac |date=2014-10-12 |title=Brazilian Painter of Visual Experience: Beatriz Milhazes |url=https://culturenightlosangeles.wordpress.com/2014/10/11/beatriz-milhazes-2/ |access-date=2024-03-01 |website=Culture Night Los Angeles |language=en}}</ref> Figurehead of the 80’s Generation, period of the Brazilian art characterized by the return of young artists to painting, Beatriz Milhazes still lives in Rio, where she was born in 1960. It is in her studio with a view over the Botanical Garden that she polishes up her work.<ref name=":1">{{Cite web |title=Beatriz Milhazes |url=https://almeidaedale.com.br/en/artists/beatriz-milhazes |access-date=2024-03-01 |website=Almeida & Dale}}</ref> She has had innumerous international solo exhibitions including [[Pinacoteca do Estado de São Paulo]] (2008); [[Fondation Cartier pour l'Art Contemporain|Fondation Cartier,]] Paris (2009); [[Beyeler Foundation|Fondation Beyeler]], Basel (2011); [[Fundação Calouste Gulbenkian]], Lisbon (2012); [[MALBA|Museo de Arte Latinoamericano]] (Malba), Buenos Aires (2012); [[Paço Imperial]], Rio de Janeiro (2013), [[Pérez Art Museum Miami|Pérez Art Museum]], Miami, USA (2014/2015), [[White cube gallery|White Cube Gallery,]] London (2018), MASP – [[São Paulo Museum of Art|Museu de Arte de São Paulo]] (2020), [[Long Museum]] ([[West Bund]]), Shanghai (2021), [[Pace Gallery]], NY (2022), [[Turner Contemporary|Turner Contermporary]] and [[Galerie Max Hetzler]] Berlin (2023). Milhazes is considered as one of the most important Brazilian artists, having participated at [[Carnegie International]], [[Carnegie Museum of Art]], Pittsburgh (1995); [[Biennale of Sydney|Sydney Biennial]], Sydney (1998); [[Venice Biennale]] (2003); [[São Paulo Art Biennial|São Paulo Biennial]] (1998, 2004); and [[Shangai Biennial]], Shangai (2006).<ref name=":0" /> Her work is included in important museums and public collections such as [[Metropolitan Museum of Art]], New York;  MoMA – [[Museum of Modern Art|The Museum of Modern Art]], New York;  [[Solomon R. Guggenheim Museum]], New York; Tate Modern, London; SFMoMA – San Francisco Museum of Modern Art, San Francisco; MNBA – Museu Nacional de Belas Artes, Rio de Janeiro; Pinacoteca do Estado de São Paulo, São Paulo; Instituto Itaú Cultural, São Paulo; Fundação Edson Queiroz, Fortaleza; Museum of Contemporary Art, Tokyo Art Museum, Tokyo; 21st Century Museum of Contemporary Art, Kanazawa; Museo Nacional Centro de Arte Reina Sofia, Madrid; Fondation Beyeler, Basel; Centre Georges Pompidou, Paris.<ref name=":1" /><ref name=":0" /> Milhazes is represented by Pace Gallery, New York; Galeria Fortes D’Aloia e Gabriel, Sao Paulo; Galerie Max Hetzler, Berlin; and White Cube, London.<ref name=":0" /> She lives and works in Rio de Janeiro. <ref name=":0" /> == Exhibitions (selection) == Milhazes has had solo and group exhibitions in a number of museums, including the [[Museum of Modern Art]] and the [[Musée d'Art Moderne de la Ville de Paris]]. From 4–21 July 2009, the [[Fondation Cartier pour l'art contemporain]] in [[Paris]] presented a major exhibition of her work.<ref name="jcg"/> == Collections (selection) == Milhazes' paintings are in the permanent collections of the [[Museum of Modern Art]],<ref>[http://www.moma.org/collection/browse_results.php?criteria=O%3AAD%3AE%3A8479&page_number=1&template_id=1&sort_order=1 moma.org]</ref> the [[Solomon R. Guggenheim Museum|Guggenheim]], the [[Metropolitan Museum of Art]], the picture ''Marotoloco'' (2014–25) is in the collection of the [[Pérez Art Museum Miami]],<ref>{{Cite web |title=Marotoloco • Pérez Art Museum Miami |url=https://www.pamm.org/en/artwork/2017.232 |access-date=2023-06-08 |website=Pérez Art Museum Miami |language=en-US}}</ref> the [[Banco Itaú]], and the [[Museo Nacional Centro de Arte Reina Sofía]].<ref name="jcg" /> Her 2000 painting "Meu Limão" "sold [in 2012] for $2.1 million dollars at [[Sotheby's]] in New York City, making her the highest-priced living Brazilian artist at auction."<ref>Morris, "Flower Power", p. 14.</ref> == Technique == [[File:Marola by Beatriz Milhazes.jpg|thumb|''Marola'' (2015), [[National Museum of Women in the Arts]], Washington, D.C.]] In terms of technique, Milhazes is predominantly concerned with the principle of collage, drawing from her combined knowledge of both Latin American and European traditions.<ref>{{Cite web|url=http://www.jamescohan.com/artists/beatriz-milhazes|title=Beatriz Milhazes|last=Cohan|first=James}}</ref> The cultural mixing of her native Brazil is something Milhazes is aware of and to some degree communicates in her paintings as well as being in ties with the Brazilian modernist movement.<ref name="Thornton 2011">{{Cite book |last=Thornton |first=Sarah |title=33 Artists in 3 Acts |year=2011}}</ref> Milhazes many other influences come from her own fascination with the decorative arts, fashion, and geometry.<ref name="Holzwarth" /><ref>{{cite news|last1=Kino|first1=Carol|title=The Artist Beatriz Milhazes Creates Modern Motifs With Echoes of Brazilian Culture|url=https://www.nytimes.com/2008/10/26/arts/design/26kino.html|access-date=30 July 2017|work=The New York Times|date=24 October 2008}}</ref> Milhazes has described her own work in saying "I think of my work as geometric, yet I can't put everything into a square or a circle."<ref name="Myers 2011">{{Cite book|title=Painting|last=Myers|first=Terry|publisher=Whitechapel Gallery|year=2011|location=London}}</ref> Her self-developed process of art making came about during her extensive researching of printing processes in the 1980s.<ref name="Myers 2011"/> A slow but steady process, time is key to everything for Milhazes. Many of her works start with the painting of plastic sheets, which are then glued to a canvas.<ref>{{Cite book|title=Vitamin P2: New Perspectives in Painting|last=Hastings|first=Julia|publisher=Phaidon|year=2011|location=London}}</ref> These plastic sheets are then peeled off of the canvas like a decal leaving behind paint.<ref name="PaintingBook">{{Cite book|title=Painting|last=Myers|first=Terry|publisher=Whitechapel Gallery|year=2011|isbn=9780262515672}}</ref>{{page needed|date=July 2020}} Some of these plastic sheets have been reused by Milhazes for as long as ten years. Often if a particular motif or drawing is well liked by the artist it will be kept, repainted, and added to multiple compositions.<ref name="Thornton 2011"/> She describes these pieces of plastic affectionately, stating that they are imprinted with a memory, a memory that can cause irregularities.<ref name="Thornton 2011"/> These irregularities are happily accepted by Milhazes as something that just comes with her process. In her works, Beatriz focuses on achieving a smooth surface as opposed to visible brush strokes with thickness being an intriguing topic but far from integral to her work and its importance.<ref>{{Cite web|url=http://www.jamescohan.com/artists/beatriz-milhazes|title=Beatriz Milhazes|last=Cohan|first=James|website=James Cohan}}</ref> In this way she can play with the various sheen and levels of contrast that her materials provide in an attempt to further transform her canvas.<ref>{{cite news|title=The Sun Goes Down on the City of Light|url=https://www.nytimes.com/2014/09/05/t-magazine/a-picture-and-poem-beatriz-milhazes-matthew-rohrer.html|url-access=subscription|work=The New York Times|date=5 September 2014}}</ref> In her own words Milhazes likens her process to the working-class, saying "I tell my friends that I'm like a bank worker...I come to the studio five days a week and do my job. I pay attention to detail, and try not to make mistakes."<ref>{{Cite book|title=Vitamin P2: New Perspectives in Painting|last=Hastings|first=Julia|publisher=Phaidon|year=2011|location=Londin}}</ref> == Influence == Drawing from the optical reactions provoked by artists like [[Bridget Riley]] and [[Tarsila do Amaral]], Milhazes believes that art is an essential way for people to aestheticize and exteriorize their thoughts and feelings.<ref name="PaintingBook"/>{{page needed|date=July 2020}} Her work often serves as an exploration of the concept of conflict. Filled with intense colors and shapes, her work serves to inspire a strong dialogue as well as “challenging eye movements over easy beauty.”<ref>{{Cite book|title=Vitamin P2: New Perspectives in Painting|last=Hastings|first=Julia|publisher=Phaidon|year=2011}}</ref> Milhazes also draws her influences from many other female artists such as [[Sonia Delaunay]], [[Georgia O'Keeffe]], and [[Elizabeth Murray (artist)|Elizabeth Murray]]. She has also cited the canon of Brazilian art history as “empowering in its celebration of women artists such as herself.”<ref name="Thornton 2011"/> == Themes == Thematically, the work of Beatriz Milhazes has been described by one critic as "abstract, yet having something new to offer."<ref name="PaintingBook"/>{{page needed|date=July 2020}} This description is something that she believes draws people into her style, especially from a Western audience.{{citation needed|date=July 2020}} Her work is known to contain many Brazilian folk references and can be interpreted as complex in this regard.<ref name="Thornton 2011"/> These references, apparent in many of the vibrant colours and shapes, are often associated with the very poorest part of the population and are generally thought to be of little interest to the upper classes or intellectuals. These references have today changed in their meaning as the social elite has attached importance to them—the importance of being Brazilian and having Brazilian art. Finding the idea of a contradiction fascinating, it is another factor that influences the outcome of her art.<ref name="Thornton 2011"/> Her installation Gamboa II, for instance, was strongly influenced by the carnival in her native country Brazil which includes dance, costumes and parades. These elements are evident in the work with its bright colours that also embraces a feminine style to the work. [https://web.archive.org/web/20161023051734/http://assets.thejewishmuseum.org/guide_pdfs/UsingWalls_Milhazes_FA_Web.compressed.pdf] == Exhibitions == Inspired by late Brazilian landscape architect [[Roberto Burle Marx]], artist Beatriz Milhazes created Gamboa II, an installation suspended from the ceiling at the [[Jewish Museum (Manhattan)|Jewish Museum]] in NYC from May, 2016 to mid September, 2016.<ref>{{Cite news|url=http://thejewishmuseum.org/exhibitions/using-walls-floors-and-ceilings-beatriz-milhazes|title=Actual website of exhibition mentioned}}</ref><ref>{{Cite news|url=https://www.artpremium.com/beatriz-milhazes-jewish-museum/|title=ArtPremium – Beatriz Milhazes: Using Walls, Floors, and Ceilings|date=2016-05-17|work=[[ArtPremium]]|access-date=2018-05-03|language=en-US}}</ref> In 2015, Milhazes presented her first United States career survey at the [[Pérez Art Museum Miami]], in [[Florida]]. ''Beatriz Milhazes: [[Jardim Botânico, Rio de Janeiro|Jardim Botânico]]'' introduced the US audience to her large-scale pieces from the 1990s.<ref>{{Cite web |title=Beatriz Milhazes: Jardim Botânico • Pérez Art Museum Miami |url=https://www.pamm.org/en/exhibition/beatriz-milhazes-jardim-botanico/ |access-date=2023-06-08 |website=Pérez Art Museum Miami |language=en-US}}</ref> ==References== {{Reflist}} == Bibliography == *{{cite journal|last=Nichols |first=Matthew Guy |title=Beatriz Milhazes at James Cohan |journal=Art in America |url=http://i1.exhibit-e.com/jamescohan/02e8f1c1.pdf |publisher=Brant Publications |date=March 2005 |url-status=dead |archive-url=https://web.archive.org/web/20081007204045/http://i1.exhibit-e.com/jamescohan/02e8f1c1.pdf |archive-date=2008-10-07 }} *{{cite journal |last=Pedrosa |first=Adriano |author-link=Adriano Pedrosa |title=In the Studio: Adriano Pedrosa visits Beatriz Milhazes |journal=Tate Etc |url=http://www.tate.org.uk/tateetc/issue2/inthestudio.htm |publisher=Tate |issue=2 |date=Autumn 2004 |url-status=dead |archive-url=https://web.archive.org/web/20090428190241/http://www.tate.org.uk/tateetc/issue2/inthestudio.htm |archive-date=2009-04-28 }} *{{cite news |last=Smith |first=Roberta |title=Art in Review - Beatriz Milhazes |url=https://www.nytimes.com/2008/11/07/arts/design/07gall.html?pagewanted=all |newspaper=The New York Times |date=6 November 2008}} * [[Frédéric Paul]], ''Beatriz Milhazes, Meu Bem'', Rio de Janeiro: Base7 Projetos Culturais, 2013. {{ISBN|978-85-62094-12-5}} ==External links== * Beatriz Milhazes Official Website - https://beatrizmilhazes.com/ *[[Galerie Max Hetzler]] Artist Page - [https://www.maxhetzler.com/artists/beatriz-milhazes Beatriz Milhazes] *White Cube Artist Page - [https://www.whitecube.com/artists/artist/beatriz_milhazes Beatriz Milhazes] *[https://art.tfl.gov.uk/projects/peace-and-love/ Art on the Underground - Peace and Love, Beatriz Milhazes] - [[Gloucester Road tube station]], [[London Underground]] * [http://zoomart.typepad.com/zoomart/2009/04/beatriz-milhazes.html 2009 Exhibition at the Foundation Cartier in Paris. HD images on this blog : ZoomArt.fr (French)] * [https://web.archive.org/web/20120626182748/http://www.durhampress.com/milhazes/index.html Durham Press] {{Order of Cultural Merit}} {{Authority control}} {{DEFAULTSORT:Milhazes, Beatriz}} [[Category:1960 births]] [[Category:Living people]] [[Category:20th-century Brazilian women artists]] [[Category:20th-century printmakers]] [[Category:20th-century Brazilian painters]] [[Category:21st-century Brazilian painters]] [[Category:21st-century Brazilian women artists]] [[Category:Brazilian women painters]] [[Category:Brazilian contemporary artists]] [[Category:Brazilian printmakers]] [[Category:Abstract artists]] [[Category:Artists from Rio de Janeiro (city)]] [[Category:Women printmakers]] [[Category:Commanders of the Order of Ipiranga]] [[Category:20th-century women painters]] [[Category:21st-century women painters]]'