Documents of Latin American and Latino Art

Luis Fernando Lucena reviews Gego’s lithographic works. The Colombian writer describes these works by Gego as atemporal and in a permanent state of activity, with no beginning or end. He also suggests that it is impossible and unnecessary to [...]

In this article, written for a corporate magazine, the Venezuelan artist Luis Chacón describes the history of printmaking in Venezuela, with a focus on the twentieth century. He briefly mentions the origins of this technique in Europe, and explains [...]

Carlos Scarinci writes about the early days of printmaking in the state of Rio Grande do Sul. He also mentions the artist Pedro Weingärtner, whose pioneering graphic works attracted attention at a national level. Weingärtner produced his first [...]

This text traces two parallel ways of understanding the prints in João Câmara’s series Cenas da Vida Brasileira [Scenes from Brazilian Life]. The first entails the artist’s passage from wood engraving—traditionally associated with the [...]

This article by the artist João Câmara Filho celebrates the tenth anniversary of the founding of the Oficina Guaianases de Gravura, the print shop in Olinda, Pernambuco. The author describes the origins and activities of the nonprofit organization [...]

In this text, Luciano Gusmão explains how artist Lotus Lobo appropriates industrial lithography common in the state of Minas Gerais in the first half of the 20th century. Lobo employs old print stones used for the packaging of butter, animal fat, [...]

In this interview, the New York artist Susana Herrero, who is originally from Puerto Rico, speaks to the art historian Marimar Benítez about the medium of lithography, mentioning the connection between lithography and drawing. With regard to her [...]

This catalogue includes a brief unsigned introduction that discusses the quality of the prints on exhibit in the Exposición de La Habana 1967 held at the Galería Latinoamericana in the Casa de las Américas [House of the Americas], Havana, Cuba. [...]

Luigi Marrozzini, director of the Galería Colibrí in San Juan, provides H.D. Glicksman with information about the Portafolio Latinoamericano, which consists of twenty-two original prints, mostly etchings and lithographs produced in signed, limited [...]

Cuban art promoter José Gómez Sicre comments on the graphic notebooks, which he prefers to call “books of graphic experiences,” by Mexican draftsman José Luis Cuevas. Gómez Sicre asserts that Cuevas’s staunchly pessimistic view of the human [...]

Educator and poet Muna Lee de Muñoz Marín offers her opinion about the Exposición de Aguafuertes y Litografías [Exhibition of Etchings and Lithographs] organized by Walt Dehner for the Universidad de Puerto Rico, in April 1931. It was the first [...]

In this short review, the U.S. poet and educator, Muna Lee de Muñoz Marín, comments on the art exhibitions held at the Universidad de Puerto Rico from 1929 to 1938. She thanks Walter Dehner, the professor and artist who planned and organized the [...]

The poet and art critic Xavier Villaurrutia believes José Clemente Orozco’s murals were his best works; then his drawings, lithographs, and engravings and, lastly, his oil paintings. Villaurrutia believes that oil painting was not the most [...]

The film director and screenwriter Chano Urueta reviews the group exhibition of the Liga de Escritores y Artistas Revolucionarios [LEAR, League of Revolutionary Writers and Artists] held at the former church of Santa Clara, which was later converted [...]

Justino Fernández describes José Clemente Orozco’s work as “frivolous art,” which explains its limited appeal; but that doesn’t mean that it is not enjoyed, since Orozco documents human reality and, consequently, historic reality. Ferná [...]