Documents of Latin American and Latino Art

In this text, Ariel Jiménez builds a framework of evidence and circumstances that describe the universal sentiments of the 1990s. In his opinion, that decade can basically be characterized by the prevailing fear and uncertainty that were not just [...]

In this essay, Ruth Auerbach—the art critic and curator of the IV Bienal de Arte de Guayana (Ciudad Bolívar, 1994)—reflects on the challenge of positioning the biennial as a space devoted to the promotion of emerging Venezuelan art. Auerbach [...]

In this text, the curator Luis Ángel Duque exposes the reasons why the sixth Bienal de Artes Visuales Christian Dior (1999) is dedicated to hypermedia. In his view, each of the twenty-four participants in the exhibition used imagery and expressed [...]

In this essay, published in the catalogue for the exhibition La invención de la continuidad (Caracas: Galería de Arte Nacional, 1997), the curator Luis Enrique Pérez-Oramas discusses questions associated with the development of twentieth-century [...]

Interview conducted by Aurora Blyde with Venezuelan artist Roberto Obregón for the exhibition CCS-10. Contemporary Venezuelan art, held at the Galería de Arte Nacional of Caracas in 1993. The artist expounds on ideas for “an exaggeratedly [...]

This essay by journalist Lourdes Blanco on Venezuelan artist Roberto Obregón examines the course of Obregón’s career: the “premature boom” of his work in Maracaibo in 1964; his first exhibitions in Caracas (1967 and 1968) when he was seen as [...]

This essay by curator Rina Carvajal was written for Uno, Dos, Tres, Cuatro, an exhibition featuring Venezuelan artists Alfred Wenemoser, Héctor Fuenmayor, Roberto Obregón, and Antonieta Sosa held at the Museo de Bellas Artes in Caracas in 1991. [...]

In this essay, which appeared in the catalogue for Veinte disecciones (Caracas: Museo de Bellas Artes, 1982), the exhibition of works by Roberto Obregón, the researcher Susana Benko reflects on cultural symbols, conventions, and codes and the [...]

This (unsigned) article is a review of the exhibition of photocopies produced by the artists María Zabala, Roberto Obregón, Diego Rísquez, Joe, Lorenzo Berman, Sigfredo Chacón, Héctor Fuenmayor, and Claudio Perna. The exhibition was held at the [...]

This is José Ignacio Herrera’s essay about the works on paper (or in which paper plays a key role) created by three of the four participants in the exhibition Uno, Dos, Tres, Cuatro (Caracas: Museo de Bellas Artes, 1991): Héctor Fuenmayor, [...]

In this brief text that appeared in the catalogue of Roberto Obregón’s second solo exhibition held in Caracas at Galería XX2 (1967), the artist presents a creed-like manner in expressing his convictions about art and life, and also commenting on [...]

This essay by the critic and curator Roberto Guevara appeared in the catalogue for the exhibition 10 pintores venezolanos de la nueva figuración. In his opinion, figuration has gone down the same cyclical and unstable path as all the other [...]

Journalist Margarita D’Amico introduces Venezuelan artist Roberto Obregón, asking him to reflect on his series, Crónicas de flores y Disecciones de rosas [Flower Chronicles and Rose Dissections]. Obregón states that his interest in “chronicles [...]

In this essay Eugenio Espinoza names nine artists (himself included) who, in his opinion, have distinguished themselves in the field of contemporary art as being creators of a body of work that “is neither art nor anti-art, but something in between [...]