Levada is the first major monograph devoted to Brazilian artist Marina Rheingantz, co-published by White Cube, Bortolami and Fortes D’Aloia & Gabriel. Developed in close collaboration with the artist, this expansive publication surveys Rheingantz’s multidisciplinary practice spanning painting, tapestry and embroidery. Lavishly illustrated with full and artwork detail reproductions, Levada features a selection of watercolours and photography drawn from Rheingantz’s personal image archive of textiles, vegetation, bodies of water and terrain that form part of the visual repository from which she draws. Placed in dialogue with the finished artworks, these images disclose something of the constellation of visual references that she gathers and transmutes to produce unmoored, abstract landscapes that refuse to be located within any particular geography or moment.

An essay by esteemed art historian and writer Julia Bryan-Wilson examines the recurring role of the stain in Rheingantz’s practice, tracing its implications through her work in painting and textiles to a conception of landscape as a material process continually being formed and undone. A panoramic essay by curator Pollyana Quintella, meanwhile, situates the artist’s practice within a lineage of Brazilian landscape painting, exploring how her work inherits, disrupts and reconfigures the tradition, while considering what becomes of the landscape genre in an unstable contemporary age.

Edited and co-ordinated by Honey Luard and Louise Parfitt
Designed by Maria Relvas Amaro
Texts by Julia Bryan-Wilson and Pollyana Quintella
Printed by Verona Libri, Italy
300 x 230 mm, hardback
192 pages, colour illustrations throughout
ISBN 978-1-910844-84-7

Julia Bryan-Wilson is a professor of art history at Columbia University and the author of several award-winning books, most recently Louise Nevelson's Sculpture: Drag, Color, Join, Face (Yale University Press, 2023).

Pollyana Quintella is a curator at Pinacoteca do Estado de São Paulo, and was previously a collaborator in research and curatorship at the Museu de Arte do Rio (MAR) between 2018 and 2021.