Documents of Latin American and Latino Art

In 1951, precisely twenty-five years after reading his “Regionalist Manifesto of 1926” for the first time, the sociologist Gilberto Freyre still deemed the effects of regionalist expression to be visible. This was particularly true in journals [...]

In his testimony, the artist Abelardo da Hora (1924–2014) mixes autobiography with episodes that refer to the organization of the Sociedade de Arte Moderna (SAM) in Recife and the workshop known as the Atelier Coletivo as well as the Movimento de [...]

This essay by Frederico [de] Morais accepts as a given that the stigma of Latin American marginalization is due to its absence from the field of universal art or to its exclusion from metropolitan history and criticism of art. At the same time, some [...]

This essay by Professor Raúl Antelo addresses the issue of place in a theory concerning the marginalizing of Latin American culture, more specifically within South America. This culture has always been viewed through a prism of exclusion and [...]

In the introduction to their anthology of essays, María Amalia Bulhões and Maria Lúcia Kern explain their goal of assembling works by thinkers who suggested alternatives to the problem of territorializing art practices in Latin America. This [...]

Pedrosa offers a proposal for future art biennials in Latin America, affirming that the continent’s unity is manifest through the misery of its peoples, in the mixture of cultures, and in oppression. In light of the dynamism of contemporary times, [...]

In this article, Roberto Pontual ponders the concept of “discovery,” and discusses the development of a Latin American awareness that has been imposed from elsewhere. This external view establishes a sense of foreign domination that sees the [...]

In April 1942, in celebration of the twentieth anniversary of the founding of the Semana de Arte Moderna [Modern Art Week] at the Teatro Municipal in São Paulo in 1922, Mário de Andrade gave a talk at the library of the Ministério das Relações [...]

In this letter, written in 1926 to the multifaceted Oswald de Andrade, the Swiss poet Blaise Cendrars makes certain suggestions regarding the forthcoming Paris exhibition of work by Tarsila do Amaral, the leading woman artist in the Brazilian [...]