That said, though, the armor alone is worth a visit - a silver shin protector with a woman’s lugubrious face at the kneecap is particularly memorable, as are several discrete hoards of identical solid-gold ornaments. Institute for the Study of the Ancient World, 15 East 84th Street, Manhattan. UPPER EAST SIDE ‘Ritual and Memory: The Ancient Balkans and Beyond’ It returns Milhazes’s expanding vocabulary to its original sources. This idea might have been better off resisted. Upstairs from the paintings hangs one of the installation pieces Milhazes made by stringing up thousands of party decorations on hundreds of invisible threads. The show’s title, “Mistura Sagrada” (or “Holy Mix”), acknowledges their craziness and purity. They are great fun to parse: full of surprising repetitions and variations (consider the lower right corner of “Cirandinha”). These paintings are in a sense collages, but constructed as carefully as clockworks. Little aggregates of boxy shapes - all straight lines - conjure modernist abstraction from Mondrian forward, while each composition also contains a sprig of peasant-art flowers. Textile and interior design riffs are ubiquitous. Fields of gold-black-lavender concentric circles update Gustav Klimt’s backgrounds multicolored circles renew Sonia Delaunay’s. She uses several kinds of waves and scallops, all manner of stripes and dots. Milhazes’s patterns have been refined and multiplied.
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