Documents of Latin American and Latino Art

In his introductory essay, Frederico Morais identifies the basic criteria underpinning the three retrospective exhibitions that were presented as part of the Ciclo de exposições sobre arte no Rio de Janeiro (1984). He briefly discusses [...]

This essay by the Brazilian art critic Wilson Coutinho appeared in the catalogue for the exhibition Ciclo de exposições sobre arte no Rio de Janeiro: 1. Neoconcretismo (Rio de Janeiro: Galeria de Arte BANERJ, 1984). The essay outlines [...]

In his testimony the critic Ferreira Gullar describes his involvement in the third Salão Nacional de Arte Moderna, also called the Salón Blanco y Negro (Black-and-White Salon), in 1954. At that point in time he was not a professional [...]

In this letter to poet Ferreira Gullar, artist Antonio Henrique Amaral expresses the dilemma he faces about whether to continue to deal with the problems of life in New York or return to Brazil. He explains that he has grown accustomed to the [...]

The director of the Museo de Bellas Artes [Museum of Fine Arts] in Caracas, María Elena Ramos, presented a paper at the I Coloquio de Arte No Objetual [First Symposium on Abstract Art] (Medellín, 1981) under the title, “La comunicación en las [...]

In this article about the artists from Rio de Janeiro who took part in the Iª Exposição Nacional de Arte Concreta, Waldemar Cordeiro, as usual, scrutinizes the parameters of theory and practice that reveal radical differences in the defining [...]

In this article Mário Pedrosa discusses the differences between the São Paulo and the Rio de Janeiro versions of concrete art. In his (rather Manichaeisticly oversimplified) view, the former are a more theoretical, rigid response to the dogmatic [...]

The author of this essay, Aracy A. Amaral, mentions the importance of certain thinkers on the subject of Latin American art: Marta Traba, Ferreira Gullar, Luis Felipe Noé, Juan Acha, and Octavio Paz. In her opinion, “new” art feels obliged to [...]