Miami’s Perez Art Museum debuts its first major retrospective of Brazilian painter Beatriz Milhazes work this September. The show marks Tobias Ostrander’s coming out:
Mr. Ostrander said he chose Ms. Milhazes because her Spirograph-like paintings of overlapping blossoms, stripes and unfurling leaves will likely resonate with audiences in Miami’s climate—particularly the city’s growing Brazilian diaspora.
The 50-work show also comes at a time when the artist appears to be moving away from her signature bouquets toward compositions that feature more geometric shapes and straight lines. “Beatriz’s art was always sensual and dizzying, just sensory overload,” Mr. Ostrander said. “She’s moving more and more toward purely geometric forms.”
From a market standpoint, her decision could be a risk. Over the past decade, major collectors have gravitated toward her more-is-more arrangements—in part because the cheeriness of her canvases seemed to match Brazil’s economic rise. In May 2008, Buenos Aires collector Eduardo Costantini paid Sotheby’s $1 million for her rainbow-hued “Magic” from 2001, tripling its high estimate. That painting will be part of the PAMM show, along with flowery pieces lent by heavyweights like German publisher Benedikt Taschen, Austrian philanthropist Francesca von Habsburg and Washington lobbyist Tony Podesta.