PRINT Summer 1999



THOSE MERCURIAL FORCES behind the global design/fashion/media complex have annointed a new mecca of fabulousness: Brasília. Forty years after its dedication, photographers, advertising directors, and design junkies of every stripe have rediscovered Brazil’s monumental experiment in utopian modernism, finding amidst the heroic architectural forms of the made-from-scratch capital city the stuff of which glamorous fashion shoots and gallery exhibitions are made. Both Wallpaper and The New Yorker have paid homage in recent issues. Now the art world is following suit. An exhibition this spring at the Robert Miller gallery in New York juxtaposed Todd Eberle’s glorifying images focused on the platonic purity of Brasília’s architecture with Robert Polidori’s contrasting take on the city’s current decrepitude and the various emendations of a local population apparently not hip to retro-modernism.

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