Documents of Latin American and Latino Art

In this brochure produced for the exhibition of works by prizewinners at the 1960 Prêmio Leirner de Arte Contemporânea, Gerardo Ferraz discusses how Anatol Wladyslaw’s work transitioned from the “mathematics and geometry&rdquo [...]

In this pocket-sized catalogue for an exhibition of recipients of the Leirner Prize for Contemporary Art in 1958, Geraldo Ferraz describes the current work of Paulo Rissone, “a phase of great maturation.” Rissone, who had arrived in Santos, [...]

Geraldo Ferraz comments on the fact that art critics were impatient to know whether or not the seventh Bienal de São Paulo (1963) had brought figurative art “back.” According to the critic Jacô Klintowitz, the question of whether their art will [...]

The writer and art critic Geraldo Ferraz discusses the boycott of the tenth Bienal de São Paulo (1969), noting that the artists’ refusal to participate in the international exhibition would cause irreparable damage to the event. He calls the [...]

This text is on the work Pogrom by the painter Lasar Segall. In it, critic Geraldo Ferraz describes the work as “magnificent,” commenting on how the human figure is represented, as well as its compositional elements, and its pictorial unity. The [...]

Geraldo Ferraz’s text describes the different phases of Lívio Abramo’s engraving, starting with the work he produced in 1933 (based on drawings he created between 1926?27). The type of “Expressionism” out of which those works emerged was [...]

With a brief historical sketch of wood engraving, “the most authentic medium within the visual languages,” the author establishes connections between expressionist art —such as the Brücke [Bridges], Blaue Reiter [Blue Rider], and Sturm [Storm [...]

To the art critic Geraldo Ferraz, Lívio Abramo’s artwork departs from a drawing that then gradually begins to give way to “expressionist manipulations” etched on “bad” wood. Towards the end of the thirties, Abramo, who was a journalist, [...]

Geraldo Ferraz alludes to the proverbial isolation of Brasilia, always waiting for its news (not political) to reach Rio de Janeiro or São Paulo so that it may finally become fact. In his article he comments on the taxidermy of a pig, a work [...]

In this show of the Argentinean group Otra Figuración [Another Figuration] at Galería Bonino in Rio de Janeiro, the Brazilian writer and art critic Geraldo Ferraz points out the definition by Jorge Romero-Brest made at the exhibition of the New [...]