In conjunction with the Hélio Oiticica retrospective, Lindsay has organized a series of concerts and events that illuminate the enduring impact of this period in Brazilian art.
The guitarist of the No Wave band DNA talks about the 1970s in Downtown New York and his friend Hélio Oiticica, whose retrospective is now at the Whitney Museum.
Here’s a small taste of what this vast country had to offer in art this year.
To Organize Delirium at the Carnegie Museum of Art is Hélio Oiticica’s second retrospective in the US and is the first to delve into the Brazilian artist’s critical New York years.
In addition to the historic gift, the museum will establish a center for the study of modern art from Latin America.
LONDON — The day began in the Turbine Hall, the 85-foot-tall atrium at the heart of Tate Modern, the most visited museum of modern and contemporary art in the world.
At a press preview earlier this month, Sheena Wagstaff, the Metropolitan Museum of Art’s chairwoman for modern and contemporary art, said that “arguably only the Met” could put on a show like Unfinished: Thoughts Left Visible.
“My life has transformed itself into a montage of simultaneous things,” Hélio Oiticica wrote in a letter in 1971.
“The house was more than a skin … an organism as alive as our own,” Lygia Clark wrote.
There may never have been a better month to see Brazilian art in New York. Last weekend, Frieze brought a taste of São Paulo art galleries Casa Triângulo, Fortes Vilaça, Mendes Wood, Vermelho, and Jaqueline Martins, as well as Rio de Janeiro’s A Gentil Carioca, to Manhattan.
In unofficial conjunction with the inauguration of Frieze New York on Randall’s Island, the galleries on Chelsea’s 26th Street decided to go big and throw a block party last Saturday. If there is one kind of party that galleries excel at, it’s glamorous and exclusive after-hours functions, on a rooftop suite somewhere far above the streets of Chelsea; if there’s one area where galleries are found unanimously wanting, it’s dealing with the public, with “regular” people, the viewers who venture through their doors simply to look and not to buy. Considering this, it was surprising and encouraging to see high-end Chelsea galleries reaching out, in a coordinated effort, to the art-going public.