Language: Spanish×
  • ¡¡Asesinos!!
    Rivera, Diego, 1886-1957
    1924
    This article by Diego Rivera denounces the “reactionary” agents of Delahuertismo who were the true architects of the conspiracy to infiltrate Masonic lodges at the beginning of 1924 in order to murder the governor of Yucatan, Felipe Carrillo [...]
    ICAA Record ID: 763275

  • ¡¡Fíjate, Trabajador!!
    Rivera, Diego, 1886-1957
    1924
    This document is a didactic-political text directed toward the working class organized around identification of its enemies. These include the fake socialist parties (equated with the Italian fascists). And also the intellectuals unable to understand [...]
    ICAA Record ID: 763293

  • ¡Ay sudamerica! 400.000 textos sobre Santiago
    Colectivo Acciones de Arte (Chile)
    1981
    This document was part of the action with the same name—¡Ay sudamerica! 400.000 Textos sobre Santiago—[Ay, South America! 400,000 Texts over Santiago] carried out by C.A.D.A. (Colectivo de Acciones de Arte) [Art Action Collective] in 1981 in [...]
    ICAA Record ID: 730004

  • ¡Cuarenta y un maricones!
    1901
    After a scandalous raid in Mexico City in which forty-two homosexual men were detained, known as the Ball of the Forty-One, the poem describes the possible foundation of a mutual aid society in which a dance was mentioned: “El traje debía de ser [...]
    ICAA Record ID: 778106

  • ¡El Arte, virtud moral, al fin!
    Restany, Pierre
    1964
    The presentation of the Premio Torcuato Di Tella 1964, written by the French critic Pierre Restany, states that art should be de-mystified. In his judgment, the divorce between art and myth was emphasized during the Renaissance and easel painting, [...]
    ICAA Record ID: 762310

  • ¡En la guerra, arte de guerra!
    Ministerio de Defensa Nacional, Dirección de Propaganda de Guerra (Cuba)
    1943
    The National War Propaganda Department, on behalf of Cuba’s Ministry of National Defense, published the script of the lecture to be delivered by David Alfaro Siqueiros on May 8, 1943, in Havana. The script provides a summary of his life from 1909 [...]
    ICAA Record ID: 751133

  • ¡Pare de sufrir! decálogo de autoayuda para espectadores intimidados por las exposiciones de arte
    Ospina, Lucas, 1971-
    2008
    The text “¡Pare de sufrir!: Decálogo de autoayuda para espectadores intimidados por las exposiciones de arte,” written by artist and critic Lucas Ospina was initially published on the website http://esferapublica.org on July 15, 2007. It was [...]
    ICAA Record ID: 1129782

  • ¡Por un arte revolucionario independiente!
    1938
    With war looming in the background, this manifesto, dated July 25, 1938, and signed by André Breton and Diego Rivera, expresses a particular point of view regarding the concept of freedom of expression for the artist and the man of science—“the [...]
    ICAA Record ID: 792914

  • ¡Que hable el diablo!: ¿La Bienal es falsa?... ¿es derroche de dinero?... ¿agente del ninguneo?
    Castillo, Fausto
    1958
    Fausto Castillo interviewed Mr. Miguel Salas Anzures who—when asked about the accusation that he was spending a great deal of money on the first Bienal Interamericana de Pintura y Grabado [Inter-American Biennial of Painting and Printmaking], [...]
    ICAA Record ID: 758326

  • ¡Qué viva "La Novia", que viva! : performance en la exposición "Ataque del presente al resto de los tiempos"
    1997
    The synopsis and the annotations in English are coming soon.                                However, our bilingual readers can click on “Español” to access this information in Spanish [...]
    ICAA Record ID: 1100756

  • ¡Que viva Manrique! : exposición semanal
    1996
    The article “¡Que viva Manrique!” [Hooray for Manrique!], written by the editorial team at the Bogotá newspaper El Espectador and published on April 16, 1996, referred to Pedro Manrique Figueroa. Precursor del Collage en Colombia [Pedro [...]
    ICAA Record ID: 1185084

  • ¡Que viva Trotsky!
    Rivera, Diego, 1886-1957
    1986
    This was the headline of the supplement—dedicated to the muralist on the centenary of his birth—that published a document dated December 19, 1929 in which Diego Rivera explained “My Expulsion from the PCM.” The text discusses his reasons and [...]
    ICAA Record ID: 754283

  • ¡Rivera y Siqueiros lo acaparan todo!
    Climent, Juan B.
    1952
    Juan B. Climent interviews Manuel Rodríguez Lozano, who leaves no doubt about his position regarding the figures of Diego Rivera and David Alfaro Siqueiros in Mexican art. Lozano talks about the need to vindicate the native figure stemming from [...]
    ICAA Record ID: 776602

  • ¡Tamayo es un hipócrita! : dice Siqueiros en una entrevista exclusiva para Hoy sobre la Bienal
    Mendoza, María Luisa
    1958
    In this interview, David Alfaro Siqueiros expressed his views on the Biennial. He began by critiquing the paintings exhibited by the United States, and warned Latin American painters against imitating hybrid ideas that made no sense, such as Tachisme [...]
    ICAA Record ID: 768083

  • ¡Tamayo se rebela! : Rufino Tamayo, “Cuarto grande” de la pintura mexicana se subleva en un vibrante mensaje artístico
    Climent, Juan B.
    1951
    The art critic Juan Climent thought that Rufino Tamayo’s painting was caught in the crossfire of conflicting opinions. Some thought that his œuvre represented the decadent formalism of the School of Paris, but others saw it as the dawn of a new [...]
    ICAA Record ID: 759012

  • ¿Adónde va la pintura?
    Plá, Roger
    1945
    In this article, Roger Plá refers to Contrapunto magazine’s strategy of inviting artists to discuss the future of painting. The survey asked the following questions: 1. In your opinion, what is the material future of painting (as regards its [...]
    ICAA Record ID: 731018

  • ¿Adónde va la pintura? : Contesta Manuel O. Espinosa
    Espinosa, Manuel
    1945
    Response given by Manuel Espinosa in the survey presented by the Contrapunto [Counterpoint] journal. In it he confronts the defenders of figuration by explaining that realist work is not that which copies, but that which asserts the material reality [...]
    ICAA Record ID: 730996

  • ¿Adónde va la pintura? : Contesta Tomás Maldonado
    Maldonado, Tomás, 1913-
    1945
    This is Tomás Maldonado’s response to the survey conducted by Contrapunto magazine. He is sanguine, not only about the future of the visual arts — “one of the most effective lubricants for revolutionary tension” — but about the future of [...]
    ICAA Record ID: 731031

  • ¿Arquitectura emocional?
    Goeritz, Mathias, 1915-1990
    1960
    In 1952, Daniel Mont invited Mathias Goeritz to construct “whatever he wanted.” Given such freedom, the sculptor developed the idea of Arquitectura Emocional [Emotional Architecture]: a structure that would contain the arts with the purpose of [...]
    ICAA Record ID: 741755

  • ¿Arte abstracto o arte no figurativo? : [¿Agregamos algo a la pintura si decimos arte abstracto o arte no figurativo]
    Martín, Vicente
    1952
    This document relates the response of Uruguayan artist Vicente Martín to the survey regarding abstract or non-figurative art, in which he states that abstract values also exist in representational painting. With regard to the future of painting, [...]
    ICAA Record ID: 757649

  • ¿Arte abstracto o arte no figurativo? : [”Arte abstracto” es y no es un término adecuado.”]
    Maldonado, Tomás, 1913-
    1952
    This document relates the response of artist Tomás Maldonado to the survey regarding abstract or non-figurative art, in which he considers the term “abstract” to be both appropriate and inappropriate; it is appropriate when it is used to [...]
    ICAA Record ID: 757530

  • ¿Arte abstracto o arte no figurativo? : [En su minuciosa “Respuesta a Julio E. Payró” publicada en el nº 202]
    Mujica Láinez, Manuel, 1910-
    1952
    Manuel Mujica Láinez replies to the survey on abstract and nonfigurative art, noting his inclination to use the terms “abstract” and “concrete” interchangeably, insofar as the trend does not cease to be what it is because of the label it [...]
    ICAA Record ID: 762983

  • ¿Arte abstracto o arte no figurativo? : [la expresión “arte abstracto” utilizada para referirse a las tendencias]
    Córdova Iturburu, C. (Cayetano), 1902-
    1952
    This document relates the response of critic Córdova Iturburu to the survey regarding abstract art or non-figurative art, in which he leans toward the expression “non-figurative art” because it permits the inclusion of not only the geometric [...]
    ICAA Record ID: 742825

  • ¿Arte abstracto o arte no figurativo? : [no creo en la posibilidad de cambio en la actual terminología de que]
    Westerdahl, Eduardo
    1952
    This document relates the response of Spanish critic Eduardo Westerdahl to the survey regarding abstract art or non-figurative art, in which he considers it opportune to carry out a revision of terms used in these cases. Westerdahl also proposes to [...]
    ICAA Record ID: 742858

  • ¿Arte abstracto o arte no figurativo? : [opino que la palabra “abstracto”, tratándose de arte, es impropia de]
    Ferrant Vázquez, Angel
    1952
    This document relates the response of Spanish sculptor Ángel Ferrant to the survey with regard to abstract, or non-figurative art, in which he indicates that the word “abstract” is inappropriate when it does not acknowledge a visual model. [...]
    ICAA Record ID: 742171

  • ¿Arte abstracto o arte no figurativo? : [Prefiero el término “arte abstracto” como término generalizador y ya]
    Goeritz, Mathias, 1915-1990
    1952
    This document relates the response of artist Mathias Goeritz to the survey regarding abstract, or non-figurative art, in which he indicates that he prefers “abstract art” as the general and popular term, although he agrees with the possibility [...]
    ICAA Record ID: 742187

  • ¿Arte abstracto o arte no figurativo? : [Resulta harto desagradable poner un nombre a cada cosa. Desde el bebé al]
    Platschek, Hans
    1952
    This is Hans Platschek’s answer to a survey on abstract and nonfigurative art, in which he suggests that signs could be used for didactic goals. But he doesn’t agree with the terms “abstract” and “nonfigurative” because the former is art [...]
    ICAA Record ID: 757674

  • ¿Arte abstracto o arte no figurativo? : [Sin el ánimo de disentir gratuitamente en la cuestión entablada entre Gui-”]
    Kosice, Gyula, 1924-
    1952
    This document relates the response of artist Gyula Kosice (1924-2016), to the survey regarding abstract or non-figurative art, in which he states that Madí adopted, in principle, the name "non-figurative" because it corresponded to the nature of [...]
    ICAA Record ID: 742202

  • ¿Arte abstracto o arte no figurativo? : [Toda denominación de una tendencia artística es convencional, sirve pa-]
    Del Prete, Juan, 1897-1987
    1952
    This document relates the response of painter and sculptor Juan Del Prete to the survey regarding abstract or non-figurative art, in which he considers all such nomenclature conventional. In addition, Del Prete believes that this type of discussion [...]
    ICAA Record ID: 742156

  • ¿Arte abstracto o arte no objetivo? : carta abierta a Guillermo de Torre
    Payró, Julio E., 1899-1971
    1951
    This document is an open letter in which Julio E. Payró declares his difference of opinion with Guillermo de Torre regarding the application of the term “abstract.” This letter responds to the concepts discussed by Torre in the catalog for the [...]
    ICAA Record ID: 742838

  • ¿Arte joven?
    Serrano, Eduardo, 1939-
    1972
    The text, “¿Arte joven?” [Young Art?] by art critic Eduardo Serrano Rueda introduces the exhibition Nombres nuevos en el arte de Colombia [New Names in Colombian Art] held at the Museo de Arte Moderno [Museum of Modern Art] in Bogotá in March [...]
    ICAA Record ID: 855747

  • ¿Arte o artesanía?
    Gerschman, Rodolfo
    1976
    In this article, journalist Rodolfo Gerschman responds to the questions raised in a press release against an award given to altarpiece maker Joaquín López Antay issued by the Asociación Profesional de Artistas Plásticos (ASPAP) that upholds a [...]
    ICAA Record ID: 1136044

  • ¿Arte popular o artesanía?
    Castrillón, Alfonso, 1935-
    1977
    In this text, Alfonso Castrillón argues that the conflict between “high art” and “folk art” is a reflection of class division, where the dominant class sets limits for low art by means of notions such as “individual creation” and “ [...]
    ICAA Record ID: 855151

  • ¿Arte versus política?
    1963
    This article was published in El País, a newspaper run by sectors of the Partido Nacional, one of Uruguay’s two traditional political parties. It reports on the occupation of the Subte exhibition space in Montevideo by a group of visual artists [...]
    ICAA Record ID: 1231919

  • ¿Artistas provocadores y delatores? : Los efectos de la intromisión corruptora del departamento de Estado Yanqui en la vida artística de nuestro país
    1954
    The exhibition at Perls Gallery in Beverly Hills, Los Angeles, presented Rufino Tamayo as one of the four great Mexican artists. His works were part of the great modernism and, unlike those of his colleagues, no Communist symbols could be found in [...]
    ICAA Record ID: 785817

  • ¿Autenticidad o exotismo?
    Abril de Vivero, Francisco
    1977
    The author of this article, Francisco Abril de Vivero, claims that the decision to send arts and crafts instead of “fine arts” to represent Peru at the 1977 Bienal de São Paulo was an act of “infra-Marxist populism.” In his opinion it was a [...]
    ICAA Record ID: 855918

  • ¿Cómo fue Túpac Amaru?
    Barra, Felipe de la
    1970
    This article by army general and historian Felipe de la Barra tries to describe the true appearance of José Gabriel Condorcanqui [Túpac Amaru II]. The article justifies the depiction of the forefather of Peruvian independence in a hat—the image [...]
    ICAA Record ID: 865441

  • ¿Cómo quiere que responda a Tamayo, en broma, o en serio?
    Rodríguez, Antonio, 1909-
    1947
    José Clemente Orozco believed that opposition to political painting was nothing new in Mexico; it had been around since the start of the mural movement. Some painters tried to stamp out all forms of figurative or representative expression. When [...]
    ICAA Record ID: 755517

  • ¿Cómo respondieron los públicos de Europa?
    Gamboa, Fernando
    1952
    This interview consists of fourteen questions regarding the reception that the Mexican art exhibition experienced from the Parisian public. Fernando Gamboa believed that the event was a great opportunity for the Mexican people, and also was a great [...]
    ICAA Record ID: 779913

  • ¿Cual es el paisaje cubano?
    Juan, Adelaida de
    1987
    In this essay—a historical reflection on the Cuban landscape over the centuries—Cuban critic and historian Adelaida de Juan asserts that, starting in the second half of the nineteenth century, Cuban painters began to envision the natural [...]
    ICAA Record ID: 806521

  • ¿Cuál es el pintor más grande de México?
    Ortega, Febronio
    1922
    In the Survey Section, the journalist Ortega decided to go to the Escuela Nacional Preparatoria to ask the painters there the following question: Who is the greatest painter in Mexico? The caricaturist Ernesto García Cabral ironically responds that [...]
    ICAA Record ID: 755251

  • ¿Cuál es la pintura revolucionaria?
    Tamayo, Rufino
    1955
    In artistic circles in those days, according to Rufino Tamayo, anything that was not purely Mexican was roundly rejected, and works that reflected our own experience and personal expression were lavishly praised. This had its positive aspects, but it [...]
    ICAA Record ID: 759040

  • ¿Dónde está Rosado del Valle?
    Traba, Marta
    1971
    Argentine critic Marta Traba considers Puerto Rican artist Julio Rosado del Valle a key figure in Puerto Rican art because he was among those who paved the way for innovative approaches and experimentation in painting. She asserts that in the work of [...]
    ICAA Record ID: 825155

  • ¿Dónde están las nubes?
    Guevara, Roberto, 1932-1998
    1986
    In this essay, the critic Roberto Guevara discusses the Cuban-born Venezuelan painter Rolando Dorrego’s career and latest work. Guevara begins with a review of the art movement of the early 1970s (in which Dorrego was an active participant), which [...]
    ICAA Record ID: 1165822

  • ¿Durero en la sabana?
    Ospina, Eduardo, 1891- 1965
    1959
    In this document, Eduardo Ospina, a Jesuit priest, humanist, aesthete and director of the art pages section of the Revista Javeriana (Bogotá), wrote a review discussing the authorship of St. Jerome, [presumed to be] painted by the German painter, [...]
    ICAA Record ID: 1135726

  • ¿El abandono de su tradicional plataforma ideológica servirá a la pintura mexicana?
    Rodríguez, Antonio, 1909-
    1948
    In this short article by Antonio Rodríguez, the art critic shows his support for an article published in the previous issue of the journal Espacios by the artist Roberto Berdecio, in defense of “social painting.” Rodríguez believes that “ [...]
    ICAA Record ID: 799572

  • ¿Entre lo popular y lo moderno? Alternativas pretendidas o reales en la joven plástica peruana
    Buntinx, Gustavo, 1957-
    1983
    In this essay, Gustavo Buntinx analyzes emerging Peruvian art, seeing it as part of a process that began twenty or twenty-five years earlier. He speculates on “what were or claimed to be alternatives in Peruvian high art during Fernando Belaúnde [...]
    ICAA Record ID: 1143012

  • ¿es la pintura moderna respecto de la clásica, culminación o retroceso?
    Miró Quesada Cantuarias, Francisco, 1918-
    In response to the question in the survey published by the Lima newspaper El Comercio as to whether “modern” painting is an improvement on “classical” painting or a step back, the various respondents agreed that different styles from [...]
    ICAA Record ID: 1137431

  • ¿Es representativo el Salón Nacional?
    Rubiano Caballero, Germán, 1938-
    1972
    This article expresses the official point of view on the controversy that was sparked by the decision to award no prizes at the XXIII Salón de Artistas Nacionales [XXIII National Artists’ Salon] (1972). The article is written by Germán Rubiano, [...]
    ICAA Record ID: 1076626

  • ¿Está aún vigente la pintura figurativa?
    Acha, Juan, 1916-1995
    1961
    Juan Acha examines the rationale advanced by those who, in line with the “new pictorial awareness” of the middle of the century, see greater relevance in abstract painting than in the outdated values of the figurative ideal. The main idea [...]
    ICAA Record ID: 1097217