Documents of Latin American and Latino Art

The writer of this text, Rafael Squirru, states that the Puerto Rican artist, Francisco Rodón, is the leading portrait painter in the world. Squirru maintains that each portrait of a prominent figure done by Rodón captures the subject’s essence [...]

This article written by the Argentine critic, Rafael Squirru, takes a position on the antinomy between figurative and nonfigurative art as debated in the current era (1958). The writer states that, first and foremost, he allows matters that may be [...]

Argentine art critic Rafael Squirru describes the connection between the Puerto Rican artist Francisco Rodón, and his work, and the way that Rodón “immerses himself in the canvas.” Squirru places Rodón within the Romantic tradition due to his [...]

Argentine poet and critic Rafael Squirru gives an overview of the events at the II Bienal de San Juan del Grabado Latinoamericano [2nd San Juan Biennial of Latin American Graphic Art] (1972), the prizes awarded by the jury, the participating artists [...]

Argentine critic Rafael Squirru writes a critical review of an exhibition of posters held at the Taller de Gráfica [Graphic Art Workshop] of the Instituto de Cultura Puertorriqueña (ICP) [Institute of Puerto Rican Culture]. This workshop was led by [...]

According to the Argentine critic and historian Rafael Squirru, the Puerto Rican artist Francisco Rodón has managed to capture the character of his sitter in each of his portraits. In fact, he has mastered the art of portraying the essential [...]

Rafael Squirru presents the exhibition that conmemorates the first 15 years of Madí Art (Museo de Arte Moderno, Buenos Aires, 1961), highlighting the overt opposition that these dedicated artists must have faced in their research of experimental [...]

Rafael Squirru introduces Narcisa Hirsch’s exhibition (Galería Lirolay, August–September, n/d), and he acknowledges the dramatic quality of an artist’s first solo show. Squirru stresses that Hirsch’s education and professional attitude are [...]

Rafael Squirru introduces Marta Minujín’s exhibition, which was held at the Galería Lirolay in Buenos Aires, in 1962. Minujín uses pieces of cardboard boxes to create her work, which is suffused with her commanding artistic [...]

Rafael Squirru introduces María Elena Sieburger’s exhibition of paintings (Galería Lirolay, Buenos Aires, August 21–September 2, 1961), noting that?following a period during which she hewed closely to Joaquín Torres García’s legacy?she is [...]

Rafael Squirru introduces Luis Benedit’s exhibition (Galería Lirolay, Buenos Aires, June 1961), noting the similarity between his work and the paintings of the Frenchman, Jean Dubuffet, though it is only as a source of inspiration for his own [...]

Rafael Squirru writes about a project for the company Fiat Concord—railcar maker—to incorporate art into its wagons. He maintains that Argentina is experiencing a moment of liberation of creative energies. Squirru is pointing out the importance [...]

 Rafael Squirru presents Carlos Paez-Vilaró’s exhibition, highlighting this artist’s versatility in comparison with the prone to specialization, quite characteristic of technological civilization. In this sense, Squirru mentions that Paez-Vilar [...]

Rafael Squirru presents the exhibition by artists Eduardo Mac Entyre and Miguel Angel Vidal, identifying it as a sample of “generative art,” as it has been called by Ignacio Pirovano, in tandem with the writings of Georges Vantongerloo. In this [...]

Rafael Squirru explains that the idea for this exhibition as well as its “puesta en marcha” [initiation] arose from a conversation with Martha Minujín and Rubén Santantonín regarding the defeatist and indifferent [...]

Argentinean art critic Rafael Squirru, then general director of cultural relations at the Foireign Office of Argentina responds to the survey sent by Jorge Romero Brest regarding both the means for and the actual selection of the artists for the 1962 [...]

In this text, the Argentine critic, Rafael Squirru, analyzes the exhibition, Grupo de Artistas Modernos de la Argentina. Pinturas, esculturas, dibujos [Modern Art Group of Argentina. Paintings, Sculptures, Drawings], held at the Galería Viau in June [...]

Rafael Squirru discusses the term Informalism, analyzing the concept of form in the scholastic, idealist, and oriental philosophies. Squirru defines art as the sensible manifestation of inner states of consciousness. He remits the mystical intuitions [...]

Rafael Squirru discusses the term Informalism, analyzing the concept of form in the scholastic, idealist, and Eastern philosophies. Squirru defines art as the sensible manifestation of innermost states of consciousness. He ponders the mystical [...]

Rafael Squirru wrote that the Argentinean artist, Kenneth Kemble was a restless artist, who worked ceaselessly in any of his aesthetic searches. Squirru considers that to talk about aa artwork is tantamount to discussing the man; therefore, he [...]

Rafael Squirru wrote that Kenneth Kemble’s oeuvre exemplifies the artist’s struggle to develop within a hostile milieu, given that Argentina was not sufficiently contemporary to understand the work produced by this Informalist artist. Squirru [...]

Rafael Squirru, art critic and diplomat, discusses the term informalismo, citing the concepts of form in Scholasticism and in either idealist or Eastern philosophy. Squirru defines art as a sensory manifestation of the innermost states of conscience [...]