Documents of Latin American and Latino Art

This essay is on an interview [conducted] by Gabriel Peluffo with the sculptor Germán Cabrera, the artist and performer Teresa Vila, and the painter and engraver Anhelo Hernández. He questions them on the role of the visual arts within the social [...]

The writer Mario Benedetti, representing the Montevideo weekly Marcha, reviews the seventh edition of the Exposición de La Habana (1968), an event that was organized by the Casa de las Américas, a Cuban institution founded in 1959. The Uruguayan [...]

This is Luis Camnitzer’s essay about his involvement in the NYGW (New York Graphic Workshop) presentation of prints inspired by the FANDSO [Free Assemblable Non-Functional Disposable Serial Object] Manifesto. Camnitzer’s goal is to re-define the [...]

Towards the end of 1944, the first core group of artistic engravers was created publishing its manifesto on the eve of the inauguration of the Primer Salón de Grabadores del Uruguay [The Fist Hall of Engravers of Montevideo on November 6th of that [...]

The writer Felipe Nóvoa discusses Carlos González’s body of work at the end of the latter’s artistic career, during which this distinguished printmaker-woodcut printer created some very unusual works from 1934 to 1944, when he stopped producing [...]

The (unknown) author of this article reports and comments on the exhibition of works by the Argentinian painter, printmaker, and muralist Demetrio Urruchúa at the Ateneo de Montevideo. The article specifically mentions certain iconographic aspects [...]

This essay by Atahualpa Del Cioppo, the art critic and theater director, was written as a tribute to the Uruguayan printmaker Leandro Castellanos Balparda on the occasion of the latter’s exhibition at “Amigos del Arte” in Montevideo. [...]

In this text, Joaquín Aroztegui reflects on new tendencies in Uruguayan art, whether in the form of writings or exhibitions, such as happenings, concretism, Op Art, and kinetic art. Those new tendencies are described as new languages born of [...]

In this letter to Uruguayan artist Leonilda González—secretary general of the Club de Grabado de Montevideo (CGM)—multifaceted Puerto Rican creator Antonio Martorell conveys his interest in organizing a group show of the CGM in San Juan. He [...]

This document in diptych format is an invitation, with commentary, to the exhibition of the Club de Grabado de Montevideo (CGM) held in the city of Sèvres in March 1968. The official presentation of the exhibition was made by the Uruguayan [...]

In this document, the Club de Grabado de Montevideo (CGM, founded in 1953) announces that it has purchased a property to be used as its headquarters. The text provides an overview of the club’s achievements and outlines its aims, among them [...]

This is a report on how artists at the CGM (Club de Grabado de Montevideo) dealt with new techniques designed for the reproduction of images. The report reviews new printing systems, such as offset, and mentions the increasing popularity of silk [...]

The April/May 1983 issue (Nº 16) of the Club de Grabado de Montevideo’s newsletter begins with an open invitation to the Mini Grabado Internacional de Cadaqués (on the Costa Brava in Spain, in August 1983). There is a reference to the CGM members [...]

The artist Luis Mazzey, a member of the Club de Grabado de Montevideo, where he was also an instructor, was interviewed a few days after his 86th birthday. He provides an overview of his career and his ideas concerning the artistic nature of [...]

The crisis and feelings of “remorse” (that, in this case, connotes political impotence) of the 1980s were the result of more than ten years of military dictatorship that had effectively dismantled the network of cultural organizations that had [...]

This printed, folded sheet of paper provides a chronological history of the CGM (Club de Grabado de Montevideo) that spans its first thirteen years of operation, from 1953 to 1966. It includes a report on the Club’s sources of inspiration in the [...]

The CGM (Club de Grabado de Montevideo) issued a number of publications in honor of its twenty-second anniversary. This flier includes several topics: a tribute to the maestro and artist Luis Mazzey in celebration of his 80th birthday; a program of [...]

The announcement in the Boletín Nº 10 issued by the CGM (Club de Grabado de Montevideo, founded in 1953) includes a description of the Club’s organization and means of support, and a reference to its membership in the recently formed Confederaci [...]

The first two pages of this bulletin, published by the CGM (Club de Grabado de Montevideo), include a wood engraving by the artist Miguel Bresciano along with a notification addressed to members informing them that the next calendar edited by the [...]

When news reached Montevideo that the artist Carlos Fossatti had died in France, the Boletín del Club de Grabado de Montevideo published a review of his life and work. Fossatti was the CGM’s ideological guide in the mid-1960s, and one of the top [...]

In this article, published in 1965, the Uruguayan art critic José Pedro Argul discusses the 4th Tokyo International Biennial of Prints and his own personal role in the selection of the graphic works by Uruguayan artists that were submitted at that [...]

On the twenty-second anniversary of the launch of its institutional program, the CGM (Club de Grabado de Montevideo) published a report in its Boletín, describing its founding objectives and the various strategies it had chosen to accomplish them. [...]

In Nuestra institución, the flier it published in 1970, the CGM (Club de Grabado de Montevideo) relates its ideological positions to the socio-political conditions in Uruguay at the end of the 1960s. The text includes information concerning the [...]

The communiqué signed by Carlos Fossatti (an active member of the Club de Grabado de Montevideo) outlines several suggestions for arriving at a consensus as regards the objectives of the group’s artistic activities, which he describes as being [...]

The report published in 1956 by the CGM (Club de Grabado de Montevideo) provides information on the institution’s objectives. In the group’s opinion, prints can be used to reach a range of different audiences and address a broad spectrum of [...]

The critic Carlos Silva wrote a study of the work of the Venezuelan sculptor Edgar Guinand, pointing out two fundamental periods in his life in art. The first is defined by the writer in the visual arts context that follows the Latin American Post- [...]

The deterioration of the site occupied by the Taller Libre de Arte (TLA) [(in Caracas)] was evident in this [March 4, 1967] news item. The news piece reported on an order to repair the sanitary facilities and electrical system of the workshop and the [...]

The critic Juan Calzadilla discusses the status of the system governing Venezuelan art biennials and salons in 1984, on the occasion of the II Bienal Nacional de Dibujo y Grabado at the Museo de Artes Visuales Alejandro Otero in Caracas. Calzadilla [...]

The critic Víctor Guédez reviews the work of the Venezuelan painter, engraver, and sculptor William Stone. He structures his readings at three levels: conceptual, aesthetic, and visual. At each level, Guédez points out the distinctive feature in [...]

In his critical review, Roberto Guevara addresses the roles of “process” and experimentation in the painter Ismael Mundaray’s work. Guevara evaluates Mundaray’s expressive resources and discusses the dynamic that allows the artist’s [...]

The art critic Humberto Mata reviews the work of the Venezuelan visual artist Luis Adrián León (alias Carúpano). In his essay, Mata highlights the transcendence of the artist’s choice of theme in his work. Mata describes the analogical [...]

Roberto Guevara offers his thoughts in a critique of the artwork presented in Venezuela by the painter María Zabala, based on her most recent design using neon light. Guevara offers some background on Zabala’s creative life that illustrates her [...]

In this article Mara Comerlati reviews the exhibition of prints by the visual artist Pedro Ángel González (1901–81). The journalist describes the exhibition at the TAGA (Taller de Artistas Gráficos Asociados) as a reunion with González and his [...]

The researcher Teresa Soutiño offers in this 1995 essay a short historical summary of the life and work of Mary Brandt and comments on the themes in the drawings included in the exhibition Pinturas, dibujos y grabados 1950–1985. Soutiño states [...]

In this text, María Luz Cárdenas discusses Ricardo Benaim’s artistic development and the premise presented in Una visión de Gaia, a solo exhibition of his paintings and prints. Cárdenas describes Benaim’s work as an example of critical [...]

In this essay, Glenn D. Lowry discusses his reaction when in Venezuela in 2000, he discovered Gego’s work, having only ever seen a few of her sculptures and prints. He claims that he would have liked to meet her, and lists the questions he would [...]

The journalist Maritza Jiménez interviews the Venezuelan printmaker and illustrator Adrián Pujol on the occasion of the latter’s exhibition at the Sala Ipostel (Caracas, 1981). During the conversation, they discuss Pujol’s conceptual and formal [...]

In this review, Josefina Núñez refers to Gego’s training and development as a graphic artist, and discusses her technical and creative approach to printing and lithography. Núñez takes a long look at Gego’s art based on her unique use of line [...]

Venezuelan curator Corina Michelena provides an overview of the graphic work of Mexican painter Rufino Tamayo, pointing out the similarities and differences between the media of painting and prints in his work. Michelena describes Tamayo’s [...]

In this essay about the selection of illustrations to accompany text, the Venezuelan curator Corina Michelena reflects on the blankness of the sheet of paper. In the case of an illustration, she suggests, that blankness actually represents the [...]

In 1997, the curator José Ignacio Herrera wrote this pamphlet on the evolution of printing in Venezuela from its beginnings in the nineteenth century through the development of the graphic arts in the twentieth century. The curator reviews the [...]

The journalist Maritza Jiménez reviews the presentation of a book-sculpture that includes prints by Lihie Talmor and poems by the Venezuelan writer Edda Armas. Jiménez describes how the book was conceived and created by Talmor with support from [...]

Journalist Yasmín Monsalve interviews artist Lihie Talmor after she was awarded the prize in sculpture at the XXII Salón Nacional de Arte de Aragua (state of Maracay). Talmor speaks of her passage from printmaking to sculpture and of her approach [...]

The journalist Edith Guzmán interviews Alirio Palacios about his printmaking and the exhibitions he was involved in at the time. Palacios explains that he has taken up woodcut printing again and has been experimenting with that technique, using what [...]

The journalist Pablo Villamizar interviews the painter Alirio Palacios on the occasion of the opening of the latter’s exhibition Xilografías y concretografías. Grabado 1994–1999 at the Museo de Bellas Artes de Caracas. The 1999 exhibition [...]

The journalist Yasmín Monsalve interviewed Alirio Palacios in connection with his exhibition of woodcuts held at the Galería Freites (Caracas). The Venezuelan artist comments on how he rediscovered this technique, which he initially learned on a [...]

While in Warsaw, Poland, the journalist Alberto Valero interviewed the Venezuelan artist Alirio Palacios as a student at the Polish Academy of Fine Arts. Palacios recounts his experiences and how his vision of poster design had been enriched, and [...]

This is the Venezuelan writer Igor Molina’s article about the work of the Venezuelan artist Alirio Palacios who, at the time this article was published, was thirty years old and had already had a considerable amount of experience. Molina, however, [...]

F. Valladares reviews the III Exposición Nacional de Dibujo y Grabado held at the Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela, Caracas. While the author remarks on the work of young Venezuelan printmakers like Luisa [...]

Writer Lucía Quintero Yanes comments on the exhibition at the Círculo Pez Dorado gallery (Caracas) by the Venezuelan artist Gladys Meneses. Pointing out that the work exhibited is by “a young student who conducts herself with professional [...]