Documents of Latin American and Latino Art

This article was written on the occasion of the exhibition of Venezuelan abstract modernist Mercedes Pardo at Museo de Arte Moderno de México that featured works from the early 1950s to her most recent production: all abstract works, since she [...]

In this article, the curator Bélgica Rodríguez reviews the career of the Venezuelan sculptor and draftsman Felipe Herrera, from his early training in the late 1960s to his most recent work, produced in 1996. After sketching a broad overview of the [...]

Researcher and historian Bélgica Rodríguez analyzes the work of Hugo Baptista in a biographical text with quotations made by the painter; beginning with the artist’s move to Caracas in 1951 so that he could enroll in Vicente Emilio Sojo’s [...]

Bélgica Rodríguez analyzes the work of sculptor Colette Delozanne, the Venezuelan artist born in France. In this text, she covers Delozanne’s artistic and personal trajectory, including her arrival in Venezuela in 1955. The author divides the [...]

[In this text] curator and art critic Bélgica Rodríguez proposes a relationship between formal elements and meaning in the work of Venezuelan painter and draftsman Saúl Huerta. These images express meaning on their own, even as they act as [...]

Bélgica Rodríguez discusses the formal content in Ramón Vásquez Brito’s seascape painting. She explains that it is necessary to consider as a whole the visual and pictorial elements that Vásquez Brito uses—space, color, line, form, rhythm, [...]

Bélgica Rodríguez analyzes the reasons why Gego’s work has achieved significance. To Rodríguez, what is most important about this work may be found in the constant movement of her drawings in space, free from physical and [...]

Bélgica Rodríguez begins this article, “Cálculo y espontaneidad,” with a brief account of Gego’s life: her studies in engineering and architecture at the Technische Schule von Stuttgart, her arrival in Venezuela [...]

[In this text], Bélgica Rodríguez critically analyzes the innovative ideas of Venezuelan artist Régulo Pérez, in both national and international spheres. The curator and critic describes some of the characteristics of his artistic process, [...]

In her essay in the catalogue for the exhibition Poleo desconocido (1997), Bélgica Rodríguez outlines her curatorial ideas. She speaks highly of the Venezuelan painter and his mystic, ethical, aesthetic, and existential qualities, all of which are [...]

In this article about the exhibition of works by the Venezuelan painter and printmaker Mercedes Pardo at the Museo Alejandro Otero (Caracas 2000–2001), the curator Bélgica Rodríguez addresses three of what she describes as the major aspects of [...]

In this text, Bélgica Rodríguez describes the creation of the Taller de Artistas Gráficos Asociados (TAGA). She explains that it was conceived as a workspace where printmakers could produce their projects. Rodríguez mentions those responsible for [...]

The Venezuelan art historian Bélgica Rodríguez takes a look at the art produced in her country. According to her, twentieth-century Venezuelan art began with the landscape painters who were active in the early part of the century. She [...]

Venezuelan art critic Bélgica Rodríguez suggests that Latin American art is largely homogeneous. She discusses the impact of different international styles and artistic movements on Latin American artists such as Cuban painter Amelia Peláez, who [...]