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    Disheartening show, but the names are familiar : critics are not being fair to youth / K. S.
    Buenos Aires Herald (Buenos Aires, Argentina). -- Oct. 17, 1960
    Newspaper article – notes
    Kemble Smith, Kenneth. "Disheartening Show, but the Names Are Familiar: Critics Are not Being Fair to Youth." Buenos Aires Herald, October 17, 1960.
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Kenneth Kemble writes about the exhibition at Galería Van Riel on Argentinean art over the last thirty years. Since all the artworks stem from European art, Kemble does not consider any to be exceptional. He compares the exhibition to the irreverent young generation (that revolves around the Di Tella Institute) and mentions some art criticism written about the aforementioned new generation.


Kenneth Kemble (Buenos Aires, 1923–1998) was one of the main artists of the Informalist movement in Argentina. Beginning in 1956, he experimented with collages, assemblages, reliefs, and informal and sign painting. Kemble participated in the exhibitions of the Asociación Arte Nuevo [New Art Association], a bastion of abstract trends. In 1959, he was part of the exhibition Movimiento Informal [Informalist Movement] at the Van Riel Gallery. In 1961, Kemble was the driving force behind the exhibition that presented arte destructivo [destructive art]. He practiced art criticism, mainly at the Buenos Aires Herald (a newspaper founded in 1876 for the English community in the capital) between 1960 and 1963. In the following decades, he continued his written reflections with an emphasis on the theory of the creative process.

This document takes part of his series of art critiques published in the Buenos Aires Herald, presenting a solid, interpretive view of Argentinean art of the early 1960s. In his news articles, Kemble was attentive to both the emergence of a new generation of artists as well as vanguardist expressions, Insofar as the informalist trend followers were being consolidated among others. the Instituto Di Tella first shows took place, the Otra Figuración [Another Figuration] and Pop Art appeared, in addition to the emergence of a new type of collector.

This document brings to light the avant-garde character in Kenneth Kemble’s critique and the role he gave the young generation by placing it up against the modern artists.

Roberto Amigo.
Fundación Espigas, Buenos Aires, Argentina
Courtesy of the personal archives of Julieta Kemble, Buenos Aires, Argentina
Archivo Kenneth Kemble, Argentina.