Documents of Latin American and Latino Art

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 [...]

This essay is on the letter from Antonio Berni (Buenos Aires) to Leonilda González (president of the Club de Grabado de Montevideo [Engravers Club of Montevideo], CGM) on occasion of the twenty-year anniversary of the CGM and on having requested [...]

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 [...]

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 [...]

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 [...]

Ariel Jiménez interviews the Polish-born Venezuelan sculptor Harry Abend. The resulting article focuses on the differences and similarities between the current exhibition, at the Sala Mendoza, and the one presented in 1992 at the GAN (Galería de [...]

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 [...]

In this essay, Eugenio Montejo writes about the Venezuelan painter Alirio Palacios, comparing his paintings to the work of Armando Reverón. He mentions their relentless experimenting, the fact that they were both landscape painters (of the coastal [...]

The United States journalist Julie Kruger interviewed the Venezuelan artist Alirio Palacios in connection with his exhibition of woodcuts at the Galería Polo & Bot (Caracas, 1967). The show presented prints made by the artist during his studies [...]

The journalist Olga González interviewed the printmaker Alirio Palacios upon his return to Venezuela after a stay in Geneva (Switzerland), during which time his focus had been on creating graphic art. González refers to the Swiss critic Arnold [...]

This is an unsigned article about an exhibition by the Venezuelan artist Alirio Palacios upon his return from China. The journalist provides general information about the printmaking art in China and informs us that Palacios absorbed and grew through [...]

This text by an unidentified journalist is a review of an exhibition of wood engravings by Venezuelan artist Alirio Palacios held at the University of New Mexico Art Museum in Albuquerque. Palacios exhibited thirty large-format prints produced using [...]

In this text, curator Josefina Núñez puts forth her vision of the evolution of artist Alirio Palacios’s work in wood engraving, establishing ties between his experiences in the East and in the West. Núñez describes in detail the process by [...]

The author clarifies that he has not yet been to the capital of Peru, but this has not prevented him from visiting José Sabogal’s Exhibition of Woodcut Prints in Lima time and time again. There is nothing absurd about it, says José Eulogio [...]

In this article, Carlos Solari asserts that the medium of “wood engraving has always been very suggestive” for painter José Sabogal. “The synthetic quality that it requires [befits] the temperamental characteristics for which he is known,” [...]

López Merino begins his article by remarking on the success of Sabogal’s exhibition in Buenos Aires, “where the most discerning critics acknowledged the respect he enjoys in Latin America.” The writer describes the exhibition of prints as a [...]

In this text, Puerto Rican literary critic and writer Arcadio Díaz Quiñones asserts that Antonio Martorell’s work analyzes and expresses a range of historical and social concerns. The breadth of Martorell’s artistic sensibility conveys a great [...]

In this essay, Puerto Rican critic Enrique García Gutiérrez discusses the nine reduction woodcuts by Marta Pérez García included in the exhibition Huellas held at Casa Candina, San Juan, Puerto Rico, in 1991. The author asserts that there is [...]

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. [...]

Distinguished Puerto Rican writer René Marqués discusses recent prints by Rafael Tufiño, which he finds less aggressive and dramatic and more sentimental and nostalgic than Tufiño’s earlier work. Marqués begins by describing the first phase of [...]

Written in 1966 on the occasion of the exhibition of prints by Puerto Rican artist José R. Alicea, this introduction by Luigi Marrozzini—an Italian art dealer who lived in Puerto Rico and directed the Galería Colibrí—places emphasis on Alicea [...]

Puerto Rican historian and curator Flavia Marichal Lugo offers an overview of the history of the woodcut in Puerto Rico. She explains that the medium took hold on the island in 1950 and its influence continually grew from then on thanks to the [...]

The Puerto Rican artist José Antonio Torres Martinó explains that Puerto Rican printmaking in the 1950s was an artistic response to the political situation; it was the artists’s way of creating an awareness of Puerto Rico. Thirty-five years later [...]

Uruguayan critic Ángel Kalenberg praises the woodcuts of Uruguayan artist Carlos González. He asserts that González is to South America what José Guadalupe Posada was to Mexico, mainly, a pioneer in the realm of art. His pivotal series of prints [...]

In this detailed review, the Puerto Rican critic Nelson Rivera Rosario discusses three works by Antonio Martorell: Catálogo de objetos [Catalogue of Objects] (1974); White Christmas (1980); and Simplicity Patterns (1981). Catálogo de objetos is a [...]

In discussing the work of Eduardo Vilches, the critic Justo Pastor Mellado refers to two stories, or legends. The first is about the prehistoric origins of painting found on cave walls at Lascaux. The second is about the Italian painter Giorgio [...]