Documents of Latin American and Latino Art

This newsletter announces an exhibition of works by Brazilian artists at the CAYC. The opening of this exhibition emphasizes the bond that exists between the two neighboring countries, despite the complications created by their respective dictatorial [...]

This newsletter announces the presentation of Expoprojeção 73, an event that consisted of a series of experimental films and audiovisuals created by Brazilian artists and selected by the noted Brazilian critic and curator Aracy Amaral [...]

This newsletter announces the presentation of Expoprojeção 73, an event that consisted of a series of experimental films and audiovisuals created by Brazilian artists and selected by the noted Brazilian critic and curator Aracy Amaral [...]

In September 15, 1998, graphic artist Antônio Maluf writes to art historian Aracy Amaral regarding her book Arte Construtiva no Brasil Coleção Adolpho Leirner. Even before its release, in his view, the book was considered an [...]

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 this article Clemente Padín discusses the historical development of performance art in Europe and in North America. He also refers to specific examples to describe the nature of this action art as practiced in Latin America. He believes [...]

In this essay, critic and performer Silvio de Gracia explains the importance of and provides context for “action art” in Latin America. He demonstrates its specificity in the region, showing how it differs from similar tendencies in Europe and [...]

In this interview with artist Antonio Manuel by critic Francisco Bittencourt, Manuel speaks of his early career, mentioning specifically the Salão da Bússola [Compass Salon]; the Corpobra [Body-Work] action in which he appeared naked at the Salão [...]

In this text, María Luisa Torrens responds to Aracy Amaral’s article arguing that the installation entitled Etsedrón, which appeared at the 1975 (XIII) São Paulo Biennial, constituted a promising new direction for Latin American art. Torrens [...]

In this text, Juan Acha responds to Aracy A. Amaral’s article arguing that the installation entitled Etsedrón, which appeared at the 1975 (XIII) São Paulo Biennial (October 17-December 14), constituted a promising new direction for Latin [...]

Art historian Shifra M. Goldman writes with great acuity and depth about the traveling exhibition, Art of the Fantastic: Latin America, 1920–1987, which opened at the Indianapolis Museum of Art in 1987, and subsequently went to the Queens [...]

According to the Brazilian critic Mario Barata, cultural identity derives from qualities that go beyond natural phenomena; it is also the result of planning and the promotion of works of art produced by a particular country. Permanent status is thus [...]