Documents of Latin American and Latino Art

Most of this short article consists of the words of the artist from Guatemala, Rina Lazo—a naturalized Mexican—from an interview with the critic Raquel Tibol. Lazo recalls her training and the reasons she came to Mexico in 1946. At that time, [...]

The Spanish art critic Margarita Nelken uses the term “Decoración Mexicana” [Mexican Decoration] as the title of her article on the work created at the Multifamiliar Benito Juarez [Benito Juárez Residential Project] by the Guatemalan artist [...]

This essay presents a dense description of the clothing of certain indigenous groups in Guatemala. The writer describes, as far as possible, the fabrics used in different garments in a country where "indigenous people are still of pure stock in many [...]

Agustín Yáñez applauds the elements embedded in Carlos Mérida’s work. He mentions his search for Americanism in the color, which he considers “a terribly dangerous route . . . to his exposure to failure . . .”. However, in Yáñez’s [...]

According to José Corral, it is unquestionable that Mexico is completely unaware of Latin American art history, since the whole continent takes its cues from Europe and the United States. This is why the arrival of the Guatemalan sculptor Rafael [...]

In this article, Diego Rivera affirms that he does not know Alvarado Rubio, an employee of the Embassy of Guatemala during the regime of dictator Carlos Castillo Armas, and that it is from there that the lies published in Impacto begin. Rivera also [...]

Mario Alvarado Rubio provides an overall analysis of the political situation in Guatemala, and goes on to say that Diego Rivera is lying about his mural because the proof that Rivera presents as genuine is, in fact, inconclusive. Alvarado Rubio [...]

Diego Rivera insists that what he painted on his transportable mural—titled Gloriosa Victoria [Glorious Victory] and inspired by recent events in Guatemala—was an accurate representation, based on facts provided by reliable sources. Rivera [...]

In 1927, Xavier Villaurrutia attempted an assessment of the Mexican art movement using Diego Rivera’s career as a timeline, since he considered Rivera’s history to be the least boring. Villaurrutia claims that, although the genre of painting that [...]