Brazilian Luciana Brito Opens a Gallery in NYC

Last month I attended the opening of Luciana Brito-NY Project  in Tribeca.  Hailing from São Paulo, Brazil, where she’s had her eponymous gallery since 1997, Brito will be collaborating with Espasso Annex, a gallery for vintage Brazilian furniture, where she’ll mount three exhibits over the next twelve months.  It’s great to have a leading Brazilian gallerist bringing her country’s artists to the Big Apple.  Welcome Luciana!

The current show is dedicated to the works of artists associated with the Brazilian Ruptura movement.  Founded in the 1950‘s by Geraldo de Barros, Waldemar Cordeiro, Luiz Sacilotto, Lothar Charoux, Kazmer Féjer, Leopoldo Haar and Anatol Wladyslaw, they sought to move art away from figurative representation to art based on “space-time, movement and material.”  These artists were part of a larger movement of concrete art, that, like constructivism, was born from post WW1 art upheavals.  I was not familiar with Grupo Ruptura, so it was great to learn about them.   I was struck by the clean lines, bursts of pure color, and industrial materials in much of the work. Below are some of the highlights:

Idéia Visivel, Waldemar Cordeiro, 1951, enamel on Kelmite

Waldemar Cordeiro (1924-73) was born in Rome to an Italian mother and a Brazilian father.  After studying art in Italy, he emigrated to São Paulo, initially working as a journalist, art critic and newspaper caricaturist. In 1952 he co-founded Grupo Ruptura, the São Paulo branch of the Brazilian concrete art movement.  In the picture above, painted a year earlier, he’s already articulating many of the ideas he would later publish in the group’s Manifesto.  In the 1960’s he became one of the first Brazilian visual artists to use computers in his work.

Arranjo de Trés Formas Semelhantes Dentro de Um Circulo, Geraldo de Barros, 1963, enamel on Kelmite

A central figure in the Brazilian Concrete art movement, noted especially for his photography (scratched negatives, multiple exposures, montages) and painting, Geraldo de Barros (1923-98), was also a furniture designer (in 1954 he established a furniture factory, Unilabor.)             I especially liked the rhythmic feel of the above painting, and the use of enamel gives the colors some punch.

Concreto 101, Judith Lauand, 1958, china ink on paper

Judith Lauand (born 1922) was the only female artist invited to join Grupo Ruptura.  A painter and printmaker, who trained as a fine artist,  she’s known for her modernist geometric free-floating abstractions.

Untitled, Luiz Sacilotto, 1955/1980, oil on fiberboard

Luiz Sacilotto’s (1924-2003) work spans painting, printmaking, sculpture, design and architecture.  He studied drawing at the Brazilian Association of Fine Arts, painted landscapes, still lifes and portraits, then moved on to Expressionism, which he left for geometric abstraction.  His work, with its squares, parallel lines, diagonals,  and symmetry was a major precursor of op-art in Brazil.

Untitled, Anatol Wladyslaw, 1960, gouache on paper

Anatol Wladyslaw (1913-2004) started his professional life as an electrical engineer, but in 1944, he began studying painting and drawing.  His early works were geometric in style, then he moved to informal abstraction and figuration.   I like the energy of this gouache.

This is a small sampling of the works you’ll find in this show, which will be on until November 6th. Don’t wait until then to see it.

Luciana Brito-NY Project is located at 186 Franklin Street.

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