Documents of Latin American and Latino Art

The Ciudad Universitaria (UNAM campus) constitutes a great example of the process of visual arts integration, which according to García Maroto had its origin in the pre-Hispanic era, since at that historic moment we can find, from its very [...]

A review of the exhibition Plástica Jalisciense, 1668-1953 organized by Lola Álvarez Bravo, under the auspices of the government of the State of Jalisco and the Universidad de Guadalajara, and held at the Museo de Guadalajara. The exhibition [...]

Justino Fernández attempts to establish a concept of  “arte mexicano,” pointing out that no expression is more valid than any other when rating it as “Mexican.” The critic considers that a whole complex historical expression, which shows [...]

It is believed that the so-called “gran arte” [sanctioned art] is going through a period during which it must, by means of an “organic process” play a live role due to its aesthetic rank, physical dimension, and public intervention. In that [...]

This is a review of the inauguration of a new space dedicated to the display, sale, and promotion of popular arts, created at the behest of the Instituto Nacional Indigenista as well as the Instituto Nacional de Antropología e Historia. The main [...]

Cardoza y Aragón believes Mexican painting had reached a unique and magnificent era and in his judgment, some of the works by Frida Kahlo were “some of the best” that had been produced in the last fifteen years. He describes her work as “ [...]

This article covers Frida Kahlo’s first solo exhibition, organized by Lola Álvarez Bravo’s gallery in Mexico City. Moreno Villa believes it was impossible to separate Kahlo’s work from her life. He lists a series of points that must be taken [...]

Paul Westheim believes that, as an artist, Frida Kahlo belongs to an alternative trend, and he describes her as a “outstanding painter.” The critic emphasizes Kahlo’s pictorial qualities, a “subtle and expressive” technique, a palette “ [...]

Flores Guerrero believed that as an artist Frida Kahlo had been honest with herself and with her era. Her subjective expression in painting was a natural process that mirrored her innermost life as well as an awareness of her body. As an exponent of [...]

In Palencia’s view, Frida Kahlo is one of the best representatives of the oneiric or surrealist genre. Nevertheless, he believes she should be included within this group with certain restrictions and limits. The quote by André Bretón (“Frida [...]

From her perspective as a foreigner, Gisèle Freund regarded Frida Kahlo’s painting as an interpretation not only of the Mexican people, both their problems and aspirations, but also of the problems of all the peoples on the earth. Freund believed [...]

The author believes that Frida Kahlo was the creator of a visceral and deeply dramatic type of painting, in which the artistic creation and personal life of the artist cannot be separated. Monteforte describes her work as "universally popular," as [...]

André Breton is interviewed before his trip to Mexico, due to the great deal of anticipation caused by his forthcoming visit. The French poet declares that this trip “crystallizes a beautiful dream and a long deferred wish,” since Mexico has [...]

The author describes in detail the Mexican Pavilion at the International Fair in Paris. He emphasizes the fact that the first image that the visitors encounter upon entering the pavilion is that of Quetzalcóatl, a wise and pacific Aztec god. One can [...]

Toward the end of the 1930s, Carlos Orozco Romero was nearly the last living representative of the generation that founded the Centro Bohemio de Guadalajara [Bohemian Center of Guadalajara]. Despite the fact that his career had been headed more [...]

Based on the exhibition presented by Carlos Mérida at the gallery of the Palacio de Bellas Artes, and the recent favorable reviews received abroad by the artist himself, Guillermo Jiménez establishes the parameters that he considers necessary to [...]

Sponsored by the government of the state of Jalisco, José Clemente Orozco worked on a series of frescoes for several public buildings in Guadalajara. Orozco was considered to have reached the full maturity of his creative talent, and these works [...]

In this article, the avant-garde poet José Juan Tablada states his points of view on such aesthetic questions as the “art for art” trend, the relationship between art and politics, and the intrinsic nature of popular art. According to Eduardo [...]

Rufino Tamayo clarifies his position on a variety of subjects and controversies that have dogged his artistic work. He touches on the debate between nationalism and universalism, and refers to the subjects that he considers appropriate for Mexican [...]

The Museum of Modern Art (MoMA) in New York inaugurated an exhibition of Mexican art that encompasses from the pre-Hispanic era up to and including examples of contemporary art, noteworthy among them the work by painters such as Orozco, Siqueiros, [...]