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Search resuls for: "Jill Langlois"


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Just inside the door to the studio of the Brazilian artists Osgemeos is a self-portrait. Spray painted onto the concrete wall of the old metal workshop’s entryway, the image shows the identical twins Otávio and Gustavo Pandolfo, 50, standing next to each other, hands at their sides and looking forward. They’re wearing colorful printed clothing, bags slung over their shoulders and baseball caps propped on their heads. Here, preparations are underway for “Endless Story,” their first museum survey of work in the United States. One of the brothers’ imposing sculptures, wrapped in black plastic so it can be shipped for the exhibition, hangs from chains on the sweeping ceiling and another is tucked away in a corner, a smidgen of what looks like a subway car visible.
Persons: Osgemeos, Otávio, Gustavo Pandolfo Organizations: Smithsonian’s Hirshhorn Museum, Washington , D.C Locations: Brazil, United States, Washington ,
Six years later, certain that he was on the right path as an artist, he held his first solo exhibition. He soon moved to the state capital, Salvador, where he studied printmaking at the Escola de Belas Artes da Bahia. After a stint as director of the Museu de Arte da Bahia in the early 1980s, Araújo headed to New York, where he taught courses in graphic arts and sculpture at City College. When Araújo liked an artist, he made it his mission to buy every piece of theirs he could find. But while Araújo had been winning praise for supporting certain artists, he was criticized for not including others.
Persons: Araújo, São, Arthur Timótheo da Costa Organizations: Escola, Artes, Museu, da, City College, Museu Afro Brasil Locations: Salvador, Bahia, Florence, New York, Brazil, Brazil’s
Call Them Dissidents. But Don’t Call Them Feminists.
  + stars: | 2023-04-27 | by ( Jill Langlois | ) www.nytimes.com   time to read: +1 min
The Brazilian artist Berna Reale sits atop a horse painted scarlet, a cage-like muzzle covering her face. As the animal clops down the empty street at dawn, Reale guides it with black leather reins, her hands in gloves that match. She wears a black military uniform and a serious expression on her face. “When you perform for people on the street you don’t know how they’ll react,” says Reale, 57, who also works with the police as a forensics expert. They have the right to be bothered by it, just like I have the right to be there performing it.”
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