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Arte destructivo : Barilari, Kemble, López Anaya, Roiger, Seguí, Torrás, Wells
1961Invitation card for the show Arte Destructivo [Destructive Art]. It is relevant to understand the formal mechanisms of the artistic milieu activated by artists in order to promote the exhibition. Thus exaggerating the show’s radical impact facing [...]ICAA Record ID: 741505 -
Artistas y exposiciones : la singular exposición de arte destructivo
1960Cayetano Cordóva Iturburu gives a positive critique of the Destructive art exhibition due to its intelligent organization of the artworks, as well as for the expanded interpretation of art as either life blasted experience or a new poetics [...]ICAA Record ID: 741878 -
Destruction is new art form : seven Argentines wreck their way to creativity
1961Robert Cox writes that, in the exhibition Arte Destructivo at Galería Lirolay, the artists have created a smart form of displaying destruction, as the antithesis of creation. He refers to both the sale of the works and the participation of the [...]ICAA Record ID: 741863 -
El Tao del Arte
1997In this text—the foreword to the exhibition catalog El Tao del Arte exhibition (Buenos Aires: Centro Cultural Recoleta, May 13–June 8, 1997)—, Jorge Gumier-Maier narrates how the conditions of the Centro Cultural Ricardo Rojas, “a place [...]ICAA Record ID: 769509 -
La pintura de López Anaya
1960Luis Felipe Noé wrote on the difficulty of an artist understanding the work of another painter, which, in his opinion, required a relinquishing act. Noé’s interpretation of the works of Jorge López Anaya, seen within an Informalist trend context [...]ICAA Record ID: 740635 -
Why the Prize Show Was Disappointing
1960Kenneth Kemble writes that the Palanza Award was a disappointment because those who were invited to participate, the great majority of them, showed works of a lesser quality; also, he believes that a shift in the public’s aesthetic taste has taken [...]ICAA Record ID: 740838