Kenneth Kemble writes about Mario Pucciarelli, his social background, the absence of an education, and his local and international success at the time. He also reviews the exhibition of Rómulo Macció, one of the most talented of the young artists whose work, the creation of fabulous monsters, was presented at the Witcomb Gallery. Kemble states interesting, synthetic opinions about Macció’s work: the use of color, the order of chaos, the creative freedom, the open and baroque form, the violence and humor, among other matters.

Kenneth Kemble (Buenos Aires, 1923–1998) was one of the main artists of the Informalist movement in Argentina. Beginning in 1956, he experimented with collages, assemblages, reliefs, and informal and sign painting. Kemble participated in the exhibitions of the Asociación Arte Nuevo [New Art Association], a bastion of abstract trends. In 1959, he was part of the exhibition Movimiento Informal [Informalist Movement] at the Van Riel Gallery. In 1961, Kemble was the driving force behind the exhibition that presented arte destructivo [destructive art]. He practiced art criticism, mainly at the Buenos Aires Herald (a newspaper founded in 1876 for the English community in the capital) between 1960 and 1963. In the following decades, he continued his written reflections with an emphasis on the theory of the creative process.

This document takes part of his series of art critiques published in the Buenos Aires Herald, presenting a solid, interpretive view of Argentinean art of the early 1960s. In his news articles, Kemble was attentive to both the emergence of a new generation of artists as well as vanguardist expressions, Insofar as the informalist trend followers were being consolidated among others. the Instituto Di Tella first shows took place, the Otra Figuración [Another Figuration] and Pop Art appeared, in addition to the emergence of a new type of collector. 

This document is of major interest given its grasp of various visual art approaches, all within the same text; in fact, this is one of the characteristic aspects of Kemble’s critique; he offers, on the one hand, a visual analysis of the work of Rómulo Macció (subsequently, a group member of Otra Figuración [Another Figuration]) and, on the other hand, a sociological approach to Mario Pucciarelli’s oeuvre.