She was the first contemporary Brazilian artist to be acquired by the Metropolitan Museum of Art for the 20th Century Collection by the curator Lowery Sims.
The Wild Form describes Grostein's work as a “rare and enriching possibility to liberate and humanize analysis”.
After finishing her studies at the Royal College of Art in London in 1970, she returned to Brazil to enroll at Escola de Experimentação Artística Brasil Dois Pontos (Escola Brasil Two Dots),[3] a center for artistic experimentation where Grostein developed her interest for American Art.
With a background in dance, Grostein's work is composed with meticulous attention to the physical qualities of her chosen medium.
The most interesting thing about Grostein's work in the late 70's and early 80's was her response to the sexist imagery captured by Picasso and de Kooning.
In the 94’ International São Paulo Bienal invoked the Wagnerian Gesamtkunstwerk, work of art as it involved all media genres fusing design, performance, painting and sculpture.
[1] The artist has exhibited her work widely at renowned museums and galleries in the United States, Europe, Latin America, and Asia.
[4][5] https://hutchinsonmodern.com/publications/70/ Grostein studied in Sāo Paulo at IADE the Institute Design, Technology, and Communication (1963–1966) and continued at the Royal Academy of Art in London (1969–1970).
This art series was based on oil paintings depicting these sacred gardens which are meant to be interpreted by the viewer.
In it are synthesized three central entities: land, man and sea, where the emblematic figure of the monkey, a primordial animal, merges with the solidarity image of the artist at the center of her exterior and interior life, in the face of four possibilities of movement and of choice, but at the mercy of her own destiny, There virtuality is a plunge into the waters of time, a leap toward the trees and the flowers of the day, a walk to obscure lands of twisted tropical night vines and finally, rest in contemplation of the landscape.
Description: This piece is one of Grostein's photography photos of a young woman dancing ballet on a stage with an ankle-length pink fluffy dress.
The photographs have a very depicted view of the dancer with the dim lights shown to portray her focus on the artist themselves during her performance.
The art was merely similar, but the scenery was shown to give it more meaning depending on the time of day as well as the locations of where this series took place.