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Beatriz González : Reportaje con Ana María Cano
1994ICAA Record ID: 1343076 -
Bellas artes, arquitectura, arqueología y arquitecturas mexicanas
1997In “Bellas Artes, Arquitectura, Arqueología y Arquitecturas Mexicanas," published in 1899 in the journal El Arte y la Ciencia, Tepoztecaconetzin Calquetzani (a pseudonym for an anonymous Mexican author) argues against the use of decorative [...]ICAA Record ID: 1125720 -
Birlibirloque
1965Journalist Alfonso Bonilla Aragón writes a review of a solo exhibition of the artist Beatriz González, which took place at the Museo La Tertulia in Cali, Colombia, in 1965. The show encompassed three bodies of work: nine oil paintings [...]ICAA Record ID: 1342982 -
Bits and pieces : the Mexican American folk aesthetic
1986In "Bits and Pieces: The Mexican American Folk Aesthetic," authors Suzanne Seriff and José Limón argue that a common aesthetic pervades all aspects of Mexican American culture including folk art, food, music, games, and rituals. Seriff and Limón [...]ICAA Record ID: 1126066 -
Border culture : the multicultural paradigm
1990In this text, Guillermo Gómez-Peña declares the new dominant U.S. culture “border culture,” and assesses how Latino culture has infiltrated U.S. culture writ large. U.S. culture has, he argues, become fundamentally multicultural, and the “ [...]ICAA Record ID: 1065568 -
Brown paper report
1971“Brown Paper Report” is the manifesto of the Tejano [Texan-Chicano] San Antonio-based art collective Con Safo, written by artist Mel Casas in 1971. This short text presents the concepts of Chicano and “Brown Vision,” as well as the etymology [...]ICAA Record ID: 1126581 -
Camargo
1970This is the catalogue published to accompany Camargo, the exhibition organized by the Gimpel Fils gallery in London. The Brazilian artist Sérgio Camargo’s works were exhibited there from November 17 through December 5, 1970. The [...]ICAA Record ID: 1232709 -
Carlos Mérida
1927In this text, André Salmon considers the paintings of the young Guatemalan artist, Carlos Mérida, and their appeal to Parisian audiences, while also expressing nationalist sentiments specific to Guatemala. Salmon begins by recounting how young [...]ICAA Record ID: 832600 -
Chicano art
1974In this essay, Shifra Goldman defines Chicano art as the expression of the historical conditions of what she calls the “double-mestizaje” [double-intermingling] of Chicano experience. Beginning with a consideration of the unresolved question of [...]ICAA Record ID: 1061662 -
Comentarios sobre el nacimiento de la arquitectura hispano-americana
1915In "Comentarios sobre el nacimiento de la arquitectura hispano-americana," Argentinean architect, art historian, and writer Martín Noel asserts that colonial architecture represents the foundation of the Latin American architectural styles that [...]ICAA Record ID: 1125848 -
Comments on the Article by Damián Bayón
1975In this text, Jorge Romero Brest responds to an article by Damián Bayón about what qualities make art produced by Latin American artists Latin American, and to four related questions about the nature of Latin American art which were sent to him by [...]ICAA Record ID: 1061762 -
Conclusao
1888The Brazilian writer and art critic Luis Gonzaga Duque Estrada presents a strong critique of the notion of an escola brazileira, [Brazilian school] promoted by the Academia Imperial de Belas Artes. Since its origins, he argues, the escola [...]ICAA Record ID: 1125269 -
Concretismo / Neoconcretismo : quem é, quem não é, quem aderiu, quem precedeu, quem tangenciou, quem permaneceu, saiu, voltou, o concretismo existiu?
1977Frederico Morais uses an extremely long title to provide a précis of his essay. But it only complicates the simplified narratives of a movement—whose embrace of doctrinaire Constructivism was followed by a critical rift between Concrete [...]ICAA Record ID: 1315134 -
Concretistas na Galeria das "folhas"
1959This brief, anonymous article, published on January 25, 1959, in the Brazilian newspaper Folha de São Paulo, notes that the Galeria de Arte das Folhas closed out 1958 with a group exhibition of Concrete art. The article names the six [...]ICAA Record ID: 1232732 -
Concretos de São Paulo no MAM do Rio
In this essay, Ferreira Gullar critiques the exhibition of works by São Paulo Concrete artists at the MAM-RJ (Museu de Arte Moderna de Rio de Janeiro, 1957). He also critiques Waldemar Cordeiro’s introductory essay and its assertion that [...]ICAA Record ID: 1315102 -
Contemporary Regional Schools in Latin America
1945In this text, Grace L. McCann Morley reviews recent developments in Latin American art, and makes a number of suggestions about how the appreciation of Latin American art can be furthered in the United States. McCann Morley begins by reminding us of [...]ICAA Record ID: 833729 -
De Alberto Hidalgo a José Carlos Mariategui : Buenos Aires, 21 de diciembre de 1928
1984In this letter to Peruvian writer and journalist José Carlos Mariátegui, avant-garde Peruvian writer and poet Alberto Hidalgo thanks Mariátegui for sending him a copy of his recently published book, Seven Interpretative Essays on Peruvian Reality [...]ICAA Record ID: 1126257 -
Decomposing – Recomposing : concepts, processes, and sources
2011This exhibition essay by adjunct curator Julia Herzberg on artist Magdalena Fernández’s video installation 2iPM009 (2009) intends to broaden our understanding of the Venezuelan artist’s concepts, processes, sources, and development [...]ICAA Record ID: 1343943 -
Del patrioterismo en el arte
1903Despite the title “Del patrioterismo en el arte,” in this article the Argentinean painter Martín Malharro rejects the idea of a narrowly prescribed and defined national art school. He partially does so in opposition to the influence of the [...]ICAA Record ID: 1125318 -
Depoimentos : Aluisio Carvão
In this text, Aluísio Carvão recalls taking part in the third Salão Nacional de Arte Moderna, which was also known as the Salón Blanco y Negro (Black-and-White Salon) “mainly because of the political statement it [...]ICAA Record ID: 1307694 -
Depoimentos : Décio Vieira
This testimony records Décio Vieira’s recollections of taking part in the third Salão Nacional de Arte Moderna, also called the Salón Blanco y Negro (Black-and-White Salon) as a member of the Grupo Frente. Challenging & [...]ICAA Record ID: 1307712 -
Depoimentos : Ferreira Gullar
In his testimony the critic Ferreira Gullar describes his involvement in the third Salão Nacional de Arte Moderna, also called the Salón Blanco y Negro (Black-and-White Salon), in 1954. At that point in time he was not a professional [...]ICAA Record ID: 1307732 -
Depoimentos : Iberê Camargo
1985In this statement, Iberê Camargo recalls how the third Salão Nacional de Arte Moderna, also known as the Salão Preto e Branco (Black-and-White Salon), was planned as a protest against the Brazilian Finance Minister Osvaldo Aranha& [...]ICAA Record ID: 1307754 -
Depoimentos : Ione Saldanha
1985In this text, Ione Saldanha recalls how the third Salão Nacional de Arte Moderna, known as the Salão Preto e Branco (Black-and-White Salon), influenced both her work and Brazilian modernism more broadly. She remembers having works in [...]ICAA Record ID: 1307774 -
Depoimentos : Quirino Campofiorito
1985The curator Glória Ferreira interviews the painter and art critic Quirino Campofiorito, asking him about the circumstances that led to what came to be known as the Salão Preto e Branco (Black-and-White Salon) in 1954 in Rio de Janeiro. [...]ICAA Record ID: 1307811 -
Depoimentos : Sérgio Camargo
1985The curator Luiza Intermenghi interviews the Brazilian artist Sérgio Camargo, asking him about his involvement in what came to be known as the Salão Preto e Branco (Black-and-White Salon) (1954) in Rio de Janeiro. Camargo explains that [...]ICAA Record ID: 1307831 -
Desexpl(l)os(ign)ção
1997This brochure was designed in 1996 for the exhibition Desexp(l)os(ign)ição (a compound word meaning something like ignited-signs-that-do-not-explode-in-the-non-exhibition). This event was a historical celebration of the Exposiç& [...]ICAA Record ID: 1315953 -
Diez preguntas de Marta Traba a Beatriz González
1973In this interview, art critic Marta Traba poses ten questions to Colombian artist Beatriz González. Traba begins by inquiring about the ironic nature of González’s subjects and the kitschy character of the objects she produces. In [...]ICAA Record ID: 1343029 -
Discurso de Francisco Oller en la Escuela Normal
1983Puerto Rican painter Francisco Oller delivered this speech to students and fellow professors around 1902 while teaching at the Normal School in Río Piedras. Oller explains that in order to impart anything meaningful to his audience, he must first [...]ICAA Record ID: 1125249 -
Discurso de incorporación a una sociedad literaria de Santiago pronunciado en la sesión del 3 de mayo de 1842
1944This address was given by the Spanish-born, Chilean-based scholar José Victorino Lastarria in 1842 during a meeting of the recently formed Sociedad Literaria, a literary society of important Chilean scholars and politicians. In his speech to the [...]ICAA Record ID: 1125103 -
Duas linhas de contribuição : Concretos em São Paulo/ Neoconcretos no Rio
1977In this introductory essay, which appeared in the catalogue for the paradigmatic exhibition Projeto Construtivo Brasileiro na Arte, Aracy Amaral describes the “revelation” she experienced as she researched the period in question: “ [...]ICAA Record ID: 1315176 -
El asunto
1926In two chapters from his book Indología, José Vasconcelos outlines his concept of a culturally and politically unified Latin America, discussing how Latin America’s internal conflicts and its disagreements with the United States could be resolved [...]ICAA Record ID: 832563 -
El ateneo en 1894
1933This article records a polemical debate over Argentinean national artistic and literary practices that took place in 1894 between three Argentinean artistic figures: poet and playwright Rafael Obligado; painter, critic, and scholar Eduardo Schiaffino [...]ICAA Record ID: 1125286 -
El empoderamiento de lo local
2005In this lecture, Gustavo Buntinx looks to convince his listeners that the current idea of “Latin American art” is an imperialist construct, and argues that the only solution is for them to reinvent it in its entirety. He begins by declaring that [...]ICAA Record ID: 1065640 -
El momento
1927In "El momento," Juan Marinello announces the existence of a new avant-garde movement in Cuban literature and the arts. Marinello prophesizes a coming “battle” between the new Cuban intellectual scene and the outmoded literary establishment who, [...]ICAA Record ID: 1125671 -
El pabellón de México en Sevilla (1930)
1988“El pabellón de Mexico en Sevilla,” by architect Manuel Amábilis, describes the Mexican pavilion at the 1930 Universal Exposition in Seville. In the prologue, Enrique González Martínez, the Mexican ambassador to Spain, explains that the [...]ICAA Record ID: 1125768 -
El pachuco y otros extremos
1973In “The Pachuco and Other Extremes,” the Mexican poet, writer, and diplomat Octavio Paz grapples with the issues related to the search for the national identity in post-revolutionary Mexico and, more broadly, the existential relationship of [...]ICAA Record ID: 1126549 -
El presagio de América
1942In these three extracts from the first chapter of his book Última Tule, Alfonso Reyes considers the history of conquest and how it has fostered mythic notions of the Americas. In the text “Colón y Américo Vespucio,” he corrects the historical [...]ICAA Record ID: 839023 -
El problema de la ‘existencia’ del artista latinoamericano
1956In this text, Marta Traba considers the problem of how Latin American artists can produce art “continental” in character at a moment when realism is not the contemporary mode of expression. She introduces the problem by observing how European [...]ICAA Record ID: 1061801 -
Entrance
1995The text “Entrance” serves as the introduction to the book, Hybrid Cultures: Strategies for Entering and Leaving Modernity, by Mexico-based Argentinean academic and anthropologist Néstor García Canclini. Written in 1995, the work rapidly became [...]ICAA Record ID: 1126661 -
Entrevista com Djanira no programa clube da crítica
1985This is the transcript of an interview—broadcast during a radio program, Clube da Crítica—in which the host, Pascoal Longo, discusses the third Salão Nacional de Arte Moderna with the Brazilian painter Djanira. Speaking as [...]ICAA Record ID: 1307678 -
Ernesto Pujol : Conversion of Manners
2000This exhibition brochure, written by consulting curator Julia P. Herzberg, addresses Ernesto Pujol’s installation Conversion of Manners. The title comes from a Benedictine vow that Catholic monks take when they leave secular life and enter [...]ICAA Record ID: 1343831 -
Ernesto Pujol : American Fields
2002Written by guest curator Julia P. Herzberg, this exhibition leaflet explains the ideas behind Ernesto Pujol’s installation American Fields. This Cuban artist’s work comprises a wooden table, a metal chair, and cast-aluminum corn cobs, as [...]ICAA Record ID: 1343815 -
Escuela española
1856This review was written for the Mexican minister of public works by Mexican diplomat Pedro Escandón, president of the Mexican commission for the 1855 Universal Exposition of Products of Agriculture, Industry, and Fine Arts in Paris. In this essay, [...]ICAA Record ID: 1125137 -
Etsedrón o la carencia de interés libidinoso por la realidad
1975In this text, María Luisa Torrens responds to Aracy Amaral’s article arguing that the installation entitled Etsedrón, which appeared at the 1975 (XIII) São Paulo Biennial, constituted a promising new direction for Latin American art. Torrens [...]ICAA Record ID: 1065137 -
Etsedrón: una forma de violencia
1976In this text, Aracy Amaral considers the strong negative responses provoked by a work entitled Etsedrón in the 1975 (XIII) São Paulo Biennial. She argues that this work provoked such responses because of its visceral power and because it is [...]ICAA Record ID: 1065099 -
Excerpts from a conversation with Carlos Alfonzo and César Trasobares=Extractos de una conversación entre Carlos Alfonzo y Cesar Trasobares
1997This text, included in an exhibition catalogue for artist Carlos Alfonzo, is a transcription of a conversation between Alfonzo and his friend César Trasobares. The interview was videotaped by Alfonzo’s friend Craig Robins in November [...]ICAA Record ID: 1469668 -
Expõe o 'Atelier Abstração
1954In this newspaper article dated June 20, 1954, professor Walter Zanini reviews the exhibition of works by artists representing the Atelier Abstração at the MAM-SP (Museu de Arte Moderna de São Paulo). Despite the fact that, as a [...]ICAA Record ID: 1316720 -
Exposição nacional de arte concreta : artes visuais poesia : Museu de arte moderna, 4 a 18-dezembro
1956This poster was designed to promote the inaugural Exposição nacional de arte concreta: artes visuais, which was presented in December 1956 at the Museu de Arte Moderna de São Paulo (MAM-SP) and in January–February 1957 at [...]ICAA Record ID: 1232176 -
Extractos de El Nuevo Indio
1937El Nuevo Indio by the Cuzco-born historian and sociologist José Uriel García (1894–1965) outlines an astute proposal for the Peruvian national project. Rejecting forcefully any nationalist framework based solely on race or “blood,” Uriel Garc [...]ICAA Record ID: 1125543