Despite the extremely fickle nature of the art world at large for abstracts, the works have a very palpable potency to anyone who has the right rods and cones to pick up color. In large cities, where the contemporary art world demands a kind of stern adherence to a new post-structuralism that needs to maintain an aesthetic that is almost anti-beauty at times, these works can stand as a kind of oppositional statement, and invite in the kinds of visual pleasure that are, at root, more populist than any other ideology. The sense of design and splendor of the New York boutique hotels have a similar effect, and it is a welcome sight to any eye, but especially tired ones.
It’s rather a delightful thing, then, when artists like Beatriz Milhazes can find a home for their works here. For this Brazillian-born visual artist, however, it’s not just one single gallery, but her work is represented in some of the big cultural giants. With works in the permanent collections of MOMA, the Guggenheim, and the Met, it might be safe to say that she has landed. In many respects, the work here is almost gravy for a career that has seen plenty of opportunities to reach fresh eyes. Her work has showings all over the world, is popular in Brazil, and has a secure position in the Parisian art scene as well.
What’s truly extraordinary about her work, however, is the acute sense of design. At first glance, it might be easy for art snobs to dismiss it as simple bright colors put together to attract attention, surely, but devoid of content. That is certainly not the case, as a closer look reveals a great deal of attention to the history of abstract art, drawing on a wealth of European influences while remaining firmly in a Brazilian Tropicale sensibility. This is but another example of how Brazilian culture is continuing to gain force in popular conceptions, being recognized at last for its deep and evolving contribution to global visual culture.
