new-york

R. H. Quaytman, O Tópico, Chapter 27, 2014, encaustic, gouache, oil, silk-screen ink, and gesso on panel, 24 3/4 × 40".

R. H. Quaytman

Gladstone Gallery | West 21st St

R. H. Quaytman, O Tópico, Chapter 27, 2014, encaustic, gouache, oil, silk-screen ink, and gesso on panel, 24 3/4 × 40".

In Tristes Tropiques, Claude Lévi-Strauss recalls how little he knew of Brazil before he moved there. “In my imagination,” he writes, “I associated Brazil with clumps of twisted palm trees concealing bizarrely designed kiosks and pavilions.” Oddly enough, a painting in R. H. Quaytman’s exhibition “O Tópico, Chapter 27” included a silk screen of just such an image, a Polaroid she took of Hélio Oiticica’s Penetravel Magic Square no. 5 De Luxe, 1977. The work’s stark geometry cuts through the foliage at Inhotim, the vast art park in Minas Gerais. The contents of Quaytman’s show were headed there as well. Angled partition walls and curved swaths of beige fabric approximated the floor plan of the nautilus-shell-shaped pavilion that will house the paintings permanently on the park’s grounds. There and then, the Oiticica silk screen will mirror its environs, but for this show they were

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