Documents of Latin American and Latino Art

In this text, Teresa del Conde argues that the vast majority of what has been written about Francisco Toledo “ . . . highlights his magical qualities above the structural, compositional and iconographical aspects of his work.” Chronicling and [...]

The Sociedad de Arte Moderno [Society of Modern Art] names a long list of “associates,” including its president, Jorge Enciso, the avant-garde painter who subsequently devoted himself to historical and anthropological research and to public [...]

In this article the abstract painter and sculptor Manuel Felguérez reviews the Primer Salón Nacional de Pintura[First National Salon of Painting] that included a great number of artists from all the aesthetic trends. The Zacatecan artist notes the [...]

Supported by a quote from André Breton —who himself quoted Karl Marx—, Luis Cardoza y Aragón again refutes the exploitation of art by revolutionaries. The tenets that composed the introductory document of the Congreso de Escritores [Writers’ [...]

The dispute begun by Luis Cardoza y Aragón against the frente único [single front] policy of the Liga de Escritores y Artistas Revolucionarios (LEAR) [League of Revolutionary Writers and Artists] culminated with this declaration in El Machete. The [...]

According to Rafael Heliodoro Valle, the distinguishing feature of the Surrealist movement is that it has “old roots” that set it apart from the rest of the avant-garde. And that, “Mexico, [which] is not a myth,” but has a mythical past has [...]

Both Jorge Juan Crespo de la Serna and Luis Cardoza y Aragón agreed that the deliberations of the International Jury’s Panel (which had established the parameters for awarding the prizes) for the Bienal Interamericana de Pintura y Grabado [Inter- [...]

Art critic Raquel Tibol questions the writer Luis Cardoza y Aragón and four artists from the second generation of the Mexican School of painting–Raúl Anguiano, Alberto Beltrán, Leopoldo Méndez, and José Chávez Morado—about the letter signed [...]

The art critic Antonio Rodríguez asks David Alfaro Siqueiros to respond to the question: does a contradiction exist between the theory and practice of the painter Siqueiros? Rodríguez elaborates with six follow-up questions. First, the author [...]

David Alfaro Siqueiros describes and simultaneously defines the four positions or trends in the visual arts existing in the world. He wonders if the theoretical proposals coincide with the work of art, and chooses to explain only two: the non-realism [...]