Documents of Latin American and Latino Art

The director of the Museo de Arte Moderno de Buenos Aires [Buenos Aires Museum of Modern Art], Hugo Parpagnoli writes about the selection criteria and the organization of the Argentinean painting exhibition in Caracas (1963), a proposal in eight [...]

Samuel Paz wrote about the artist’s current situation, brought about by a crisis around the concept of style and a state of hypersensibility, in addition to a demand for inventiveness. The critic emphasized how Luis Gowland Moreno made use of [...]

The art critic Samuel Paz wrote that art produced around 1959 was a pursuit rich with collective experiences, yet poor in individual outcome. In his opinion, rebellion today is mastering the path to “extroverted creation.” Although, contrary to [...]

The presentation affirms that nonfiguration dominates the visual arts based on the sole convention of absolute creative freedom; thus the only limit for the artist is his medium. In Pellegrini’s judgment, the artist works within a perimeter of pure [...]

Sigwart Blum developed in these notes the relationship between ancient cultures and dualism in nature. He even analyzed symbols as discharged energy, continually active for thousands of years and surfacing in everyday situations. He linked Líbero [...]

In this brief note, Libero Badii describes the impact of his travels in the highlands of Bolivia and the awakening of his desire for a "sculptural communication" concerning three themes: family, students, and siblings. He mentions his later trip to [...]

Federico Gonzalez-Frías writes about the shift occurred in the painting of Federico Peralta-Ramos, and how he gave himself with abandon to luxurious and baroque illusions in order to carry out his search by means of pictorial materials, a more [...]

In this text, written in 1959, Libero Badii expresses his own opinions concerning the nature of artistic creation, as distinct from the usual categories mentioned in the artistic discourse. He views creation as a mysterious event, inextricably linked [...]

Nelly Perazzo reviews Aldo Paparella’s works, making formal judgments and interpreting their iconography; she makes particular reference to their link with Mediterranean culture and myths of contemporary society [...]

Libero Badii describes his work as an expression of the "sinister" beauty of the land in the Americas. He provides a timeline for the creation of El Poder [Power [...]

On the one hand, Libero Badii describes his work, Conocimiento siniestro Nº 1 Los Muñecos (1967-68) [Sinister Knowledge no. 1 The Puppets (1967-68)] as a new direction in the "vision of seeing reality." On the other hand, the work Testamento artí [...]

Libero Badii discusses the actual physical aspect of the artistic endeavor, tracing the historical evolution of the materials he uses in his work (stone, cast iron, polychrome wood, paper, and gold). He views the concept of "the sinister" as using [...]

Libero Badii explains that his transition from sculpting to painting demonstrated that he was an artist in his prime. According to him, painting could express the communicative meaning of his work. He mentions the "sinister" sense of his artistic [...]

This article is an ironic commentary written by James Barry that negatively refers to the peculiar nature of the works exhibited at Galería Lirolay. Barry focuses on both the assortment of materials used by Kenneth Kemble and the prizes reached by [...]

Kenneth Kemble presents the works he created since 1956. He explains the collage from his point of view. arguing that the search for experimentation with application of new materials is fundamental in the new visual arts. Unlike the surrealist [...]

In this document, Kenneth Kemble writes about the project of the Fundación Torcuato Di Tella and the creation of an Art Center based on the idea that industrial progress must be accompanied by the development of culture. The collection was exhibited [...]