Beatriz Milhazes

Beatriz Milhazes (Rio de Janeiro, RJ, 1960)

Beatriz Milhazes is a painter, engraver, illustrator, and teacher. In 1981, Beatriz graduated in Social Communication from Hélio Alonso College, but even before completing her social communication course, in 1980, she began studying visual arts at the Parque Lage School of Visual Arts[1], where, a few years later, she began teaching and coordinating cultural activities.

1984: Beatriz Milhazes has participated in several exhibitions, not only those that characterize the "Generation of the 80s," which consisted of visual artists who emerged after the exhibition at Parque Lage[2] on July 14, 1984, organized to reflect the diverse production of the period.

It's worth a digression to explore who's who and where they come from. A 1984 exhibition brought together 123 artists—Beatriz Milhazes among them—whose works already attracted attention for their ornamentation and "déco" approach. They were of different ages and backgrounds, and by reviving the traditional technique of using oil on canvas, they maintained a certain unity while remaining true to their own way of "making"—in other words, art sought to be less cerebral and reclaim the joy of making. All of them, however, opposed the conceptual art of the '60s and '70s, researched new materials and techniques, and communicated with vocalization and abundant colors.

The exhibition was titled "How Are You, Generation 80?[3]." It is known that despite the generic title, the exhibition had a massive participation of Rio artists linked to EAV/Parque and some São Paulo artists from the art courses at the Armando Álvares Penteado Foundation – FAAP. In other words: "a Rio exhibition with a São Paulo appendix," despite the participation of some painters from the "Guinard School" and the "School of Fine Arts of the Federal University of Minas Gerais." Some common characteristics may be the large dimensions of the works, the pictorial gestures, the international neo-expressionism read within the Trans-Avant-Garde[4] and the pop integrating the arrangement of postmodernity. We cannot fail to notice the multiplicity of materials used – petroleum jelly, paraffin, gold leaf, towels, animal and synthetic leathers, plastic films, plastics and wires, clothing, PU foam, plush, gloves, eyeglass lenses, etc. – which transmute with their contiguity... .

Twenty years later – in 2004 – the same curator created a new exhibition, “Where Are You, Generation '80,” which opened at the Centro Cultural Banco do Brasil (CCBB-RJ). We noticed that from that historic Parque Lage exhibition of 123 artists, only 48 participated in this one, and we verified that, in addition to the works produced around 1984, all presented their current productions. As expected, the exhibition confirmed the so-called "return to painting," revealing unmistakable signs of local variations in the similarities expressed, in the same period, in the Italian Trans-Avant-Garde and German and international Neo-Impressionism[5].

"(...) For the first time, I'm thinking out loud that, in working with color, I'm connecting life and painting. Carnival—a frenetic Brazilian popular festival—has always stimulated me with its visuals, atmosphere, madness, beauty, etc.

The parades, with their color combinations and concepts, are very crazy, but on the other hand, all these things are very far from painting, from my studio, from my daily life. Unlike Hélio Oiticica, who also brought Carnival references to his work, I have never, at any point, been part of the world of samba or Carnival. And I never wanted to be.

I'm a conceptual carnival artist. The same goes for psychedelic culture and religion, even though I believe in God. I think a walk on the beach is the best way to connect serious geometry and Carnival."
Beatriz Milhazes. Southern Seas.
Rio de Janeiro: Centro Cultural Banco do Brasil, 2002. p. 92.

1990s: Let's return to the career that interests us at this moment. Our Beatriz Milhazes. In addition to painting, she also dedicated herself to engraving and illustration. From 1995 to 1996, she studied metal and linoleum engraving at Atelier 78, with Solange Oliveira and Valério Rodrigues, and in 1997, she illustrated the book "One Thousand and One Nights in the Light of Day: Sherazade Tells Arab Stories," by Katia Canton. Between 1997 and 1998, she was a visiting artist at several North American universities. Since the 1990s, she has been featured in international exhibitions in the United States and Europe and is part of the collections of museums such as the Museum of Modern Art (MoMA), the Solomon R. Guggenheim Museum, and the Metropolitan Museum of Art (MET) in New York.

Her work maintains the popular matrix represented by lace, embroidery, architectural allegories, elements drawn from folk crafts, and icons from art history, all elevated to the same status in a mixture that incorporates the constructive process, the Baroque spirit—which requires further study, discussion, and clarification[6]—and the seduction of kitsch, reconciling the erudite and the popular, the sophisticated and the rustic[7]. Color is an omnipresent element! Her work also includes geometric abstraction and her specific reference to Carnival, collages, juxtapositions, and superimpositions.

Regarding the previous statements, we have collected a statement from Beatriz Milhazes:

"I connect more with the '90s than the '80s, because it was in the '90s that I found a common thread to express myself better..."; "The art of the '80s was very linked to pop. And I was interested in decorative and popular arts and geometry. I was always more rational, so much so that I only made about five canvases a year. After that, many people left painting. I stayed and became somewhat isolated in the national scene...[8]"

Critical Commentary

Beatriz Milhazes, between 1981 and 1982, studied painting at the Parque Lage School of Visual Arts - EAV/Parque Lage, where she later taught. In 1984, she participated in the exhibition "How Are You, Generation 80?" In the opinion of critic Frederico Morais, the artist revealed, from the beginning of her career, a desire to approach painting as a decorative act, drawing on the work of artists such as Henri Matisse (1869-1954). She was interested in the profusion of Baroque ornamentation, particularly the rhythm of arabesques and the ornamental motifs present in the work of Guignard (1896-1962). Her works from the 1980s reveal a tension between figure and ground, between representation and ornamentalism. Later, she opted for a painting with a decidedly two-dimensional character. Beatriz Milhazes reveals sensitivity in her use of color, as in the works The Royal Prince (1996) or The Four Seasons (1997). In the painting Southern Seas (2001), she establishes a play with the landscape genre. In more recent works, she frequently uses shapes such as stars and spirals, and the colors become more luminous, as in Nazaré das Farinhas (2002).

The artist frequently works with circular forms, suggesting sometimes concentric, sometimes expansive shifts. In most of her works, she prepares images on transparent plastic, which are peeled off, like film, and applied to the canvas by decal. She clusters the images, filling in the background and retouching the final image.

The motifs and colors are transferred to the canvas through successive collages, executed with precision. The transfer of the images from the smooth surface to the canvas practically eliminates any gestures. The pictorial material obtained through numerous superimpositions, however, presents no thickness: the ornamental motifs and arabesques are placed in the foreground. The viewer's gaze is led to travel through all the images, following the graphic and chromatic exuberance present in her paintings.

"Working with a monotype method in which the images are prepared on transparent plastic in the reverse order of their printing on canvas, the artist controls the reduced thickness of the pictorial material, concealing the painterly gesture, and freezing the transferred image. In this laying of the thin film of paint on the canvas, skin on skin, dermis on dermis, the clash of circular forms with the geometric principle creates a painting of hyperbolic sensibility, born of the frantic struggle between baroque figuration and rigorous construction—not from the struggle of one element against another, of one aspect against another, but from the mutual exaltation that governs baroque sensuality coated in Matisse-like color and unleashes the work's embryonic constructive emotion.

The circular forms reinforce nuclei while generating shifts, sometimes concentric, sometimes expansive, and disrupt any desire for hierarchy that rational construction insists on reinventing. For this reason, these paintings do not offer themselves to the first look.

It is impossible to determine planes or privilege one form or another, as these paintings unfold in their entirety and force the eye to traverse them in a slippery manner, unable to single out any instance.

For Beatriz, the Baroque remains a cultural fact, but only as an archetypal memory. As an emotion, it is displaced and deceives nostalgic motivations. It was undoubtedly extracted by her from deep roots unearthed in our historical time, but it has been transformed into a mirror image, a simulacrum that penetrates and reinforces the whirlwind of the work's constructive structures. (...)

It is a painting where reflection visually traces the tensions that are based on an apparent solidity of history, but which arises as a new perception of the phenomena and meanings of creation and artistic expression."
Stella Teixeira de Barros
In: BEATRIZ Milhazes. São Paulo: Galeria Camargo Vilaça;
Caracas: Sala Alternativa Artes Visuales, 1993. p. [5-6].

"(...) Milhazes's paintings also have a self-conscious social character. With their motifs of flowers, beads, and ribbons, they speak of femininity as a historical construct and also as a way of life—of the work women did and the pleasures they enjoyed. Even without those recognizable fragments of imagery that weave their way through Milhazes's abstraction, we viewers could still inhale the aroma of this reminiscence, distilled by the very patterning to which those images resort.

But this patterning, no matter how magnificent, has no greater relevance in Milhazes's paintings than those fragments of ornamental imagery.

Here, both the pattern and the images are at the service of color—but color functions in such a way that its mere naming (which could give the illusion that a bit of color is a self-identifying, independent entity whose attributes ignore its interaction with its surroundings) is a contradiction. A painting, as Milhazes shows us, is a society of colors, and as such, it creates and characterizes the individuals that constitute it. Therefore, it is the painting as a whole that gives character to each color contained within it, as much as, or even more than, each color lends a certain character to the painting."
Barry Schwabsky
In: MILHAZES, Beatriz. Mares do Sul.
Rio de Janeiro: Centro Cultural Banco do Brasil, 2002. p. 109-110

"Like Gauguin's painting, Milhazes's is also, in its own way, deceptive: it seems to suggest a paradise filled with flowers and exotic fruits of an abundant nature painted in joyful and joyful colors, in the words of Barry Schwabsky in a text published in this book.

However, these paintings were produced in a city stereotyped by the image of natural abundance, beauty, and a varied spectrum of pleasures: Rio de Janeiro. Furthermore, in recent years, Milhazes's paintings have also been exported to important collections in Europe and the United States. In this regard, it is crucial to understand that Milhazes's paintings restore to the natives not only the production of their own images, but above all the axis of their export and dissemination between the South and the North.

This operation is not constructed in such a calculated manner by the artist, and the critical element of her paintings seems to be based precisely on ambivalence. A second look reveals more than tropical flora and fauna: from the peace symbol to Miriam Haskell's jewelry, from Emilio Pucci's fabric patterns to Burle Marx's landscape design, from chintz to Carnival allegories, from Art Deco architectural ornaments to Bridget Riley's geometries. It is not so much a question of appropriation or citationism, but of a "melting pot" in which the elements used are subjected to mediating processes of adaptation, translation, and derivation. Anthropophagy is a strong reference. If the colors are joyful and jubilant, the particular technique of collage that Milhazes applies to her canvases gives the whole a precarious and fragmented appearance. The tropical painter is a surfer, and her South Seas is a vast hyperfigurative junkyard, full of native, foreign, exotic, generic, derivative, and bastard elements.
Adriano Pedrosa
In: MILHAZES, Beatriz. South Seas.
Rio de Janeiro: Centro Cultural Banco do Brasil, 2002. p. 81

“(…) For the first time, I'm thinking out loud that, in working with color, I make a connection between life and painting.

Carnival—a frenetic Brazilian popular festival—has always stimulated me with its visuals, atmosphere, madness, beauty, and so on. The parades, with their color combinations and concepts, are truly crazy, but on the other hand, all of these things are far removed from painting, from my studio, from my everyday life.

Unlike Hélio Oiticica, who also brought Carnival references to his work, I have never, at any point, been part of the world of samba or Carnival. And I never wanted to be. I'm a conceptual Carnivale. The same goes for psychedelic culture and religion, even though I believe in God. I think a walk on the beach is the best way to connect serious geometry and Carnival.”
Statement – ​​Beatriz Milhazes
Interview
published in Folha de São Paulo-Ilustrada,
Gabriela Longman, March 5, 2007.

In a telephone interview with Folha, Milhazes spoke about these latest projects and her plans for the near future – she opens an exhibition of prints on the 9th at the James Cohan Gallery, also in New York, and in November, she will exhibit at Estação Pinacoteca, curated by Ivo Mesquita.

“As incredible as it may seem, this will be my first exhibition at an institution in São Paulo. I've always participated in Biennials (participating in the 24th in 1998 and the 26th in 2004, when she was the subject of a special room) and galleries, but not institutions. "I'm excited," says Milhazes. According to her, the exhibition will be "a kind of panorama," covering various periods of her work and will include works from outside Brazil—at least one new one, produced especially for the show. "I've just returned to painting after a long time working on other projects. I worked like a madwoman, but I'm only just now getting back to painting." Low productivity – she paints an average of ten canvases per year – is one of the reasons cited by the gallery to explain the famous "queue" in São Paulo.

Regarding the other projects she mentions, last year saw at least three of them: the decoration of the Tate Modern restaurant in London, a project for the Gloucester Road subway station, also in the English capital, and six large panels for the new Taschen store in New York.

What the three works seem to have in common is the search for formal simplification, from a painter accustomed to excess, to the baroque!

"All these projects, for reasons related to size and also to the medium – the final technique is not painting, but rather printing on a type of vinyl (Taschen) or cut-out adhesive vinyl (Tate and Metro) – brought new possibilities to my drawing. I had to simplify. My work is full of details, but those details can't exist in a dimension like this," she explains.

At the same time, the artist also works with her sister, choreographer Márcia Milhazes – Beatriz is the official set designer for the company, which premieres tonight the American tour of the show "Tempo de Verão" at the Dance Theater Workshop in New York.

Books

BEATRIZ MILHAZES – PAINTING, COLLAGE
BILINGUAL EDITION – PORTUGUESE/ENGLISH
Format: Book
Organizer: PINACOTECA DO ESTADO DE SAO PAULO
Publisher: PINACOTECA DO ESTADO
Subject: ARTS – PAINTING

BEATRIZ MILHAZES – SNOW IN THE TROPICS
Format: Book
Author: MONDADORI ELECTA
Publisher: ELECTA-ITALIA
Subject: ARTS

BEATRIZ MILHAZES
Format: Book
Author: HERKENHOFF, PAULO
Author: HERKENHOFF, PAULO
Publisher: FRANCISCO ALVES
Subject: ARTS – PAINTING

BEATRIZ MILHAZES
Format: Book
Author: KERGUEHENNEC, DOMAINE
Author: PAUL, FEDERIC
Publisher: DAP-DISTRIBUTED ART
Subject: ARTS

ART NOW, V.2
ENGLISH / GERMAN / FRENCH
Format: Book
Author: GROSENICK, UTA
Publisher: TASCHEN DO BRASIL
Subject: ARTS

Solo Exhibitions

1985 - Rio de Janeiro RJ - Solo exhibition at Galeria Cesar Aché
1987 - Rio de Janeiro RJ - Beatriz Milhazes: Painting and Sculpture, at Galeria Cesar Aché
1988 - São Paulo SP - Solo exhibition at Galeria Suzana Sassoun
1989 - Recife PE - Solo exhibition at Espaço Pasárgada
1990 - Rio de Janeiro RJ - Solo exhibition at Galeria Saramenha
1991 - Rio de Janeiro RJ - Solo exhibition at Itaugaleria
1991 - São Paulo SP - Solo exhibition at Subdistrito Comercial de Arte
1993 - Caracas (Venezuela) - Solo exhibition at Sala Alternativa de Artes Visuales
1993 - São Paulo SP - Solo exhibition at Galeria Camargo Vilaça
1994 - Monterrey (Mexico) - Solo exhibition at Ramis F. Barquet Gallery
1994 - Rio de Janeiro RJ - Beatriz Milhazes: Paintings, at Galeria Anna Maria Niemeyer
1994 - Rio de Janeiro RJ - Solo exhibition at Paço Imperial
1994 - Rio de Janeiro RJ - Solo exhibition at Paço Imperial
1995 - Rio de Janeiro RJ - Finep Project, at Paço Imperial
1996 - New York (United States) - Solo exhibition at Edward Thorp Gallery
1996 - São Paulo SP - Solo exhibition at Galeria Camargo Vilaça
1997 - Amsterdam (Netherlands) - Solo exhibition at Galerie Barbara Faber
1997 - Curitiba PR - Solo exhibition at Museu Alfredo Andersen
1997 - Madrid (Spain) - Solo exhibition at Galeria Elba Benitez
1997 - New York (United States) - Solo exhibition at Edward Thorp Gallery
1998 - Paris (France) - Solo exhibition at Galerie Natalie Obadia
1998 - Rio de Janeiro RJ - Solo exhibition at Anna Maria Niemeyer Galeria de Arte
1998 - Rio de Janeiro RJ - Solo exhibition at Galeria Anna Maria Niemeyer
1998 - Rio de Janeiro RJ - Solo exhibition at Paço Imperial
1998 - São Paulo SP - Solo exhibition at Galeria Camargo Vilaça
1999 - Durham (United States) - Solo exhibition at Durham Press, Inc.
1999 - London (England) - Solo exhibition at Stephen Fredman
2000 - Mexico City (Mexico) - Solo exhibition at Galeria OMR
2000 - New York (United States) - Solo exhibition at Edward Thorp Gallery
2000 - São Paulo SP - Solo exhibition at Galeria Camargo Vilaça
2001 - Birmingham (United States) - Solo exhibition at Birmingham Museum of Art
2001 - Birmingham (England) - Solo exhibition at Ikon Gallery
2001 - Lisbon (Portugal) - Solo exhibition at Galeria Pedro Cera
2001 - Madrid (Spain) - Solo exhibition at Galeria Elba Benítez
2002 - Rio de Janeiro RJ - Mares do Sul, at CCBB
2004 - São Paulo SP - Meu Prazer, at Galeria Fortes Vilaça

Group Exhibitions

1983 - Brasília DF - Arte na Rua
1983 - Rio de Janeiro RJ - 6th National Salon of Visual Arts, at MAM/RJ
1983 - Rio de Janeiro RJ - 6th National Salon of Visual Arts, at MAM/RJ
1983 - Rio de Janeiro RJ - Painting, Painting, at Fundação Casa de Rui Barbosa
1983 - São Paulo SP - Arte na Rua
1984 - Fortaleza CE - 7th National Salon of Visual Arts
1984 - Rio de Janeiro RJ - 7th National Salon of Visual Arts, at MAM/RJ - acquisition prize
1984 - Rio de Janeiro RJ - Arte na Rua 2
1984 - Rio de Janeiro RJ - Como Vai Você, Geração 80?, at EAV/Parque Lage - acquisition prize
1985 - Rio de Janeiro RJ - 8th National Salon of Visual Arts, at MAM/RJ
1985 - Rio de Janeiro RJ - Arte Construção: 21 Contemporary Artists, at Centro Empresarial Gallery
1986 - Buenos Aires (Argentina) - 1st Latin American Biennial of Works on Paper, at Museo de Arte Moderno de Buenos Aires
1986 - Guadalajara (Mexico) - Paintings: escrete volador
1986 - Niterói RJ - 4 Painters, at Universidade Federal Fluminense Art Gallery
1986 - Rio de Janeiro RJ - New Prints, at Marcia Barrozo do Amaral Art Gallery
1986 - Rio de Janeiro RJ - Occupied Territory, at EAV/Parque Lage
1987 - São Paulo SP - 5th São Paulo Salon of Contemporary Art, at Pinacoteca do Estado
1988 - Belo Horizonte MG - Subindo a Serra, at Fundação Clóvis Salgado, Palácio das Artes
1988 - Curitiba PR - Group Exhibition, at Museu Municipal de Arte
1988 - Rio de Janeiro RJ - 10th National Salon of Visual Arts, at Funarte - acquisition prize
1988 - Rio de Janeiro RJ - 88 x 68: a Review of the Years
1988 - Rio de Janeiro RJ - Group Exhibition, at MAC/USP, at Funarte
1988 - Rio de Janeiro RJ - Group Exhibition, at MAM/RJ
1988 - Rio de Janeiro RJ - Two by Two, at Argentine Consulate General Gallery
1988 - São Paulo SP - Group Exhibition, at MAC/USP
1989 - Cuenca (Ecuador) - 2nd International Biennial of Cuenca - special mention by the jury
1989 - Rio de Janeiro RJ - The Master and the Exhibition, at EAV/Parque Lage
1989 - Rio de Janeiro RJ - Rio Today, at MAM/RJ
1989 - São Paulo SP - Cristina Canale, Cláudio Fonseca, Beatriz Milhazes, Luiz Pizarro and Luiz Zerbini, at MAC/USP
1990 - Brasília DF - Brasília Visual Arts Prize, at MAB/DF - Commercial Banks Association Prize
1990 - Rio de Janeiro RJ - The Face and the Work, at Ibeu Copacabana Gallery
1990 - Rio de Janeiro RJ - Arqueos Projects, at Fundição Progresso
1991 - Caracas (Venezuela) - Brazil: the New Generation, at Fundación Museo de Bellas Artes
1991 - Rio de Janeiro RJ - BR/80. Brazilian Painting of the 1980s, at Fundação Casa França-Brasil
1991 - Rio de Janeiro RJ - Process No. 738.765-2, at EAV/Parque Lage
1992 - Caracas (Venezuela) - America, at Sala Alternativa Artes Visuales
1992 - Rio de Janeiro RJ - 1st Towards Niterói: João Sattamini Collection, at Paço Imperial
1992 - Rio de Janeiro RJ - Brazilian Contemporary Art, at EAV/Parque Lage
1992 - Rio de Janeiro RJ - Eco Art, at MAM/RJ - Eco-Art Prize
1992 - São Paulo SP - João Sattamini/Subdistrito, at Casa das Rosas
1993 - Curitiba PR - Contemporary Brazil, at Casa da Imagem
1993 - Guadalajara (Mexico) - Diálogo del Siete Puntos, at Guadalajara Museum
1993 - Madrid (Spain) - Eco Art, at Casa de América
1993 - Niterói RJ - 2nd Towards Niterói: João Sattamini Collection, at MAC-Niterói
1993 - Rio de Janeiro RJ - Gilberto Chateaubriand Collection, at MAM/RJ
1993 - Rio de Janeiro RJ - The Role of Rio, at Paço Imperial
1993 - São Paulo SP - Towards the Museum, at CCSP
1993 - São Paulo SP - Meetings and Trends, at MAC/USP
1993 - São Paulo SP - Prints, at Espaço Namour
1993 - Washington D.C. (United States) - Ultramodern: the Art of Contemporary Brazil, at National Museum of Women in the Arts
1994 - Caracas (Venezuela) - International Fair of Caracas
1994 - New York (United States) - Slant of Light - International Art Exhibition
1994 - Rio de Janeiro RJ - 14th National Salon of Visual Arts, at Palácio Gustavo Capanema
1994 - Rio de Janeiro RJ - Under the Sign of Gemini, at Galeria Saramenha
1994 - Rio de Janeiro RJ - The Exchange Show: twelve painters from San Francisco and Rio de Janeiro, at MAM/RJ
1994 - San Francisco (United States) - The Exchange Show: twelve painters from San Francisco and Rio de Janeiro, at Yerba Buena Center for the Arts
1994 - San Juan (Puerto Rico) - Pequeño Formato Latino-Americano 94, at Luigi Marrozzini Gallery
1995 - Caracas (Venezuela) - Transatlántica-America-Europe Non-Representational, at Museo Alejandro Otero
1995 - Geneva (Switzerland) - Regards d'Amerique Latine, at Galerie Regard
1995 - Pittsburgh (United States) - Carnegie International, at The Carnegie Museum of Art
1995 - Rio de Janeiro RJ - 24th Panorama of Brazilian Art, at MAM/RJ
1995 - Rio de Janeiro RJ - Finep Project, at Paço Imperial
1995 - São Paulo SP - 24th Panorama of Brazilian Art, at MAM/SP
1995 - São Paulo SP - The 1980s: the Stage of Diversity, at Sesi Art Gallery
1995 - São Paulo SP - Group Exhibition, at Galeria Camargo Vilaça
1996 - Belo Horizonte MG - Traveling Prints, at Palácio das Artes
1996 - Caracas (Venezuela) - Yole, Milhazes, Duarte, at Museo Alejandro Otero
1996 - Madrid (Spain) - Contemporary Brazil, at Casa de América Latina
1996 - Niterói RJ - Brazilian Contemporary Art in the João Sattamini Collection, at MAC-Niterói
1996 - Rio de Janeiro RJ - Guignard: the Artist’s Choice, at Paço Imperial
1996 - Rio de Janeiro RJ - Small Hands, at Paço Imperial
1996 - São Paulo SP - Contemporary Brazilian Art: Recent Donations/96, at MAM/SP
1996 - São Paulo SP - Excess, at Paço das Artes
1996 - São Paulo SP - Artist’s Gold, at Galeria Casa Triângulo
1996 - São Paulo SP - Small Hands, at Alumini Cultural Center
1996 - Washington D.C. (United States) - Theories of the Decorative, at Baumgarther Galleries
1997 - Caracas (Venezuela) - From the Body: Allegories of the Feminine, at Museo de Bellas Artes
1997 - Curitiba PR - Contemporary Printmaking, at Metropolitan Art Museum of Curitiba
1997 - New York (United States) - New Editions and Works on Paper, at Betsy Senior Gallery
1998 - Belo Horizonte MG - Contemporary Urban Landscape, at Itaú Cultural
1998 - Campinas SP - Contemporary Urban Landscape, at Itaú Cultural Campinas
1998 - Caracas (Venezuela) - Trio, at Sala Alternativa de Artes Visuales
1998 - Goiânia GO - The 1980s, at Marina Potrich Art Gallery
1998 - Houston (United States) - Abstract Painting, Once Removed, at Contemporary Arts Museum
1998 - Los Angeles (United States) - Painting Language, at L.A. Lover
1998 - Niterói RJ - Biennial Mirror, at MAC-Niterói
1998 - Penápolis SP - Contemporary Urban Landscape, at Itaú Cultural Gallery
1998 - Rio de Janeiro RJ - 16th National Art Salon: Special Room, at MAM/RJ
1998 - Rio de Janeiro RJ - 16th National Salon of Visual Arts, at MAM/RJ
1998 - San Francisco (United States) - Durham Press: 10-Year Anniversary, at De Marcel Sitcoske Gallery
1998 - São Paulo SP - 24th São Paulo International Biennial, at Fundação Bienal
1998 - São Paulo SP - Contemporary Urban Landscape, at MAM/SP
1998 - São Paulo SP - Hanging, at Galeria Camargo Vilaça
1998 - São Paulo SP - The Modern and the Contemporary in Brazilian Art: Gilberto Chateaubriand Collection - MAM/RJ, at MASP
1998 - Sydney (Australia) - 11th Biennale of Sydney
1999 - Kansas City (United States) - Abstract Painting, Once Removed, at Kemper Museum of Contemporary Art
1999 - Lisbon (Portugal) - Latin-American Transavantgarde, at Culturgest
1999 - Niterói RJ - Group Exhibition, at UFF Art Gallery
1999 - New York (United States) - Recent Prints, at Betsy Senior Gallery
1999 - New York (United States) - Woman Printmakers, at Jem Kempner Gallery
1999 - Paris (France) - Painting, at Galerie Natalie Obadia
1999 - Rio de Janeiro RJ - The Image of Sound by Chico Buarque, at Paço Imperial
1999 - Rio de Janeiro RJ - Rio Print Exhibition: Contemporary Impressions, at Paço Imperial
1999 - São Paulo SP - Everyday/Art: Object in the 90s, at Itaú Cultural
2000 - Curitiba PR - 12th Curitiba Print Exhibition: Marks of the Body, Folds of the Soul
2000 - Kansas City (United States) - Universal Abstraction 2000, at Jan Weiner Gallery
2000 - London (England) - Drawings, at Stephen Friedman Gallery
2000 - Madrid (Spain) - Fricciones, at Museo Nacional Centro de Arte Reina Sofía
2000 - New York (United States) - Opulent, at Cheim & Read Gallery
2000 - New York (United States) - Projects 70, at MoMA
2001 - Liverpool (England) - Hybrid, at Tate Liverpool
2001 - Rio de Janeiro RJ - Blind Mirror: Selections from a Contemporary Collection, at Paço Imperial
2001 - Rio de Janeiro RJ - Long Live Brazilian Art, at MAM/RJ
2001 - São Paulo SP - Blind Mirror: Selections from a Contemporary Collection, at MAM/SP
2001 - São Paulo SP - Rotativa 01, at Galeria Fortes Vilaça
2001 - São Paulo SP - The Trajectory of Light in Brazilian Art, at Itaú Cultural
2001 - Vienna (Austria) - Poster of the Years to Come, at Portfolio Kunst
2002 - Brasília DF - Fragmentos a Seu Ímã, at Espaço Cultural Contemporâneo Venâncio
2002 - Niterói RJ - Diálogo, Antagonismo e Replicação na Coleção Sattamini, at MAC-Niterói
2002 - Rio de Janeiro RJ - Arquipélagos: o universo plural do MAM, at MAM/RJ
2002 - Rio de Janeiro RJ - Caminhos do Contemporâneo 1952-2002, at Paço Imperial
2002 - São Paulo SP - Coleção Metrópolis de Arte Contemporânea, at Pinacoteca do Estado
2002 - São Paulo SP - Mapa do Agora: arte brasileira recente na Coleção João Sattamini do Museu de Arte Contemporânea de Niterói, at Instituto Tomie Ohtake
2002 - São Paulo SP - Ópera Aberta: celebração, at Casa das Rosas
2002 - São Paulo SP - Paralela, at a warehouse located at Avenida Matarazzo, 530, São Paulo
2003 - São Paulo SP - 2080, at MAM/SP
2003 - São Paulo SP - Meus Amigos, at Espaço MAM Villa-Lobos
2003 - Venice (Italy) - 50th Venice Biennale, at Arsenale and Giardini della Biennale
2004 - Campinas SP - Coleção Metrópolis de Arte Contemporânea, at Espaço Cultural CPFL
2004 - Rio de Janeiro RJ - Carnaval, at CCBB
2004 - Rio de Janeiro RJ - Onde Está Você, Geração 80?, at CCBB
2004 - São Paulo SP - 26th São Paulo International Biennial, at Fundação Bienal
2004 - São Paulo SP - Bazar de Verão, at Galeria Fortes Vilaça
2004 - São Paulo SP - Coleção Metrópolis de Arte Contemporânea, at Espaço Cultural CPFL
2004 - São Paulo SP - Still Life / Natureza Morta, at Galeria de Arte do Sesi
2005 - São Paulo SP - Arte em Metrópolis, at Instituto Tomie Ohtake

Bibliography

ARTE e artistas plásticos no Brasil 2000. Afterword by Luiz Armando Bagolin. São Paulo: Meta, 2000. 227 pp., color ill.

BASBAUM, Ricardo. Planos múltiplos. Guia das Artes, São Paulo: Casa Editorial Paulista, vol. 5, no. 20, 1990.

BR 80: Pintura Brasil Década 80. Introduction by Ernest Robert de Carvalho Mange. São Paulo: Instituto Cultural Itaú, 1991. 112 pp., color ill.

CRISTINA Canale, Cláudio Fonseca, Beatriz Milhazes, Luiz Pizarro, and Luiz Zerbini. São Paulo: MAC/USP, 1989. b/w and color ill., photos.

D´OLIVEIRA, Fernanda. Geração 80: Symbols and Myths in the Painting of Beatriz Milhazes. Diário de Pernambuco, Recife, Nov. 3, 1989.

DESCENDING the Mountains: Ten Artists from Minas Gerais in Rio de Janeiro. ASCENDING the Mountains: Ten Artists from Rio de Janeiro in Minas Gerais. Introduction by Marcus de Lontra Costa. Rio de Janeiro: Centro Cultural Cândido Mendes, 1988.

LEITE, José Roberto Teixeira. 500 Years of Brazilian Painting. Produced by Raul Luis Mendes Silva, Eduardo Mace; design by Alessandra Gerin; soundtrack by Roberto Araújo. [S.l.]: Log On Informática, 1999. 1 CD-ROM.

MILHAZES, Beatriz. Beatriz Milhazes. English version by Stephen Berg. São Paulo: Galeria Camargo Vilaça, 1993. 16 pp., color ill.

MILHAZES, Beatriz. Beatriz Milhazes: Painting and Sculpture. Rio de Janeiro: Galeria Cesar Aché, 1987. color ill.

MILHAZES, Beatriz. Mares do Sul. Introduction by Francisco Weffort, Frances Reynolds Marinho; translation by Izabel Murat Burbridge, Michael Asburg, Odile Cisneros. Rio de Janeiro: Centro Cultural Banco do Brasil, 2002. 190 pp., color ill.

MILHAZES, Beatriz. Who Do You Copy? Copiarte. Arte em São Paulo, no. 32, Sept./Oct. 1985.

MORAIS, Frederico. Beatriz Milhazes: Decor Is Not a Crime. Galeria Revista de Arte, São Paulo, no. 25, pp. 56-59, 1991.

PINTURAS: Escrete Volador. São Paulo: Subdistrito Comercial de Arte, 1986. b/w ill.

TERRITÓRIO Ocupado. Introduction by Marcus de Lontra Costa. Rio de Janeiro: Escola de Artes Visuais do Parque Lage, 1986. [88 pp.], b/w ill.