Documents of Latin American and Latino Art

This interview by journalist Margarita D'Amico with Marisol [Escobar] begins with a brief look at the exhibition on the fish theme held at the Sidney Janis Gallery in New York. D’Amico asks the artist about the most important characteristics of her [...]

This essay by Japanese art critic Akiko Hyuga on the art of Marisol [Escobar] is divided into three parts. In the first, Hyuga examines the origins of Pop art in North America, discussing its influence and major exponents. He then considers how [...]

This essay by Albor Rodríguez on Marisol [Escobar] describes her personality, as well as her home workshop, located in New York City. The author offers a short biography, pointing out the most important milestones in her artistic career, her most [...]

In the text, “Neo Figurativo y Pop-Art” [Neo-figurative and Pop Art], Colombian sculptor Julio Abril presents Pop Art as “fashion’s latest war cry,” a U.S. contribution to the international art scene. In his opinion, Pop Art represents the [...]

In this essay, Rogério Duarte defines “industrial design” as the concept of  form in its serial reproduction. As he references the origins of Renaissance-style typography, he weighs in and deliberates about various theories on the subject, as [...]

This essay, written by the art critic Roberto Pontual, is a biographical and artistic profile of the artist Roberto Magalhães, in which the author underscores Magalhães’ penchant for working independently from his colleagues in the Nova Figura [...]

Critical commentary by Cayetano Córdova Iturburu on the institution and the competition systems that, in his opinion, circulate only one type of artistic production: Pop art. In his judgment, the jury did not even consider the offerings of three [...]

This short article is about the second solo exhibition of Gloria Gómez Sánchez at the Cultura y Libertad gallery in Lima (May–June 1967). The anonymous author underscores the female content of the material on display: “woman [...]

This is a brief selection of the opinions expressed by critics and artists at a round-table discussion about the jury’s controversial decision to award the first prize for painting to Motociclista No. 3, the work submitted by Luis Zevallos Hetzel [...]

Architect and artist Sérgio Ferro confronts the process of nationalization then underway within the context of Pop Art, which can be seen as a movement of “young painters” in Brazil, while also exposing the contradictions of this stance that, in [...]

Writing in the ironic style he affects in his articles, the columnist Luis Rey de Castro deplores Luis Zevallos Hetzel’s attitude, which reminds him of an old word game that, in Spanish, is based on a repetition of the letter P: “Peruvian pop [...]

This article reports on the round table organized by the Museo de Arte Moderno of Buenos Aires regarding the new attitude of artists; it also offers some of the opinions proposed [during the event]. The debate was coordinated by the director of the [...]

This text by Brazilian critic Mário Pedrosa looks to a text by Nicolas Calas—perhaps the “Pop Icons” chapter he contributed to the book Pop Art coordinated by Lucy R. Lippard (New York: Praeger, 1966)—on the “anti-art” stance of North [...]

The professor and architect Flávio Motta thinks that language is the result of the social organization of work, and is recognized as a form of the relationships that arise therein. But the very transformative nature of work can contradict the [...]

This newspaper article reports on the roundtable discussion about Motocicleta No. 3, by Luis Zevallos Hetzel, which took first prize at the painting competition organized by the Festivales de Ancón (a resort on the outskirts of Lima). The forum took [...]

This essay analyzes certain characteristics inherent in the selection of foreign artists for participation in the twentieth International Biennial of São Paulo in 1989, highlighting the preponderance of retrospectives. To the writer Lorenzo Mammì, [...]

Stemming from the idea (very advanced at that time) that the media invents events, those who are writing this decide to inform—by way of social news snippets, altered photos, and apocryphal testimonies—about a happening that never took place. [...]

This document transcribes a poster that appeared in the window of a commercial gallery near the Instituto Torcuato Di Tella [Torcuato Di Tella Institute] in Buenos Aires. The text, dated 10 p.m. on September 30, 1966, mentions the idea of convening [...]