Documents of Latin American and Latino Art

Milan Ivelic and Gaspar Galaz developed this questionnaire to be used in their conversations with Mario Carreño, Carmen Aldunate, Rodolfo Opazo, and Ricardo Yrarrázaval about their painting and what they were working on at that time ( [...]

The sociologist Fernando Balcells wrote this essay for the catalogue for Te devuelvo tu imagen, ocupación, the exhibition of works by Juan Castillo (who, like Balcells, was a member of the group Colectivo Acciones de Arte [CADA, Art Action [...]

Nemesio Antúnez shares his thoughts and discusses his printmaking experiences and his training under William Hayter. He recalls incidents with famous artists at the Atelier 17 and the circumstances that led him to set up the Taller 99 in his [...]

Justo Pastor Mellado wrote three interventions for the Seminario de interpretación de la coyuntura plástica. This third “polemical” text ranges from what was taking place in the visual arts field in Chile to what was [...]

In 1983 Justo Pastor Mellado addressed some discussions that were begun a couple of years earlier in his essay about Tránsito suspendido, the exhibition of works by Carlos Altamirano. He described this text as a second part, focusing the [...]

Justo Pastor Mellado discusses the unofficial shipment of Chilean art to the 12th Paris Biennial arranged by Nelly Richard, which he describes as a key moment in the birth of the Escena de Avanzada. Mellado also focuses on several landmark art events [...]

This is Pablo Oyarzún’s critical review of Nelly Richard’s book Márgenes e Instituciones (Margins and Institutions). He acknowledges her role in the field of Chilean art and her contributions to a new approach to art [...]

Mary Sabbatino discusses Juan Downey’s work in depth, paying particular attention to the connection between his drawings and his videos. According to Sabbatino, drawing formed the basis of Downey’s methodology. She notes that he was [...]

This article by Francisco Brugnoli is, as the title suggests, about the publication of Nelly Richard’s book Margins and Institutions. Art in Chile Since 1973. The text is divided into three points, which, in turn, are divided into sub-points. [...]

This is Nelly Richard’s critical review of La pintura en Chile: desde la Colonia hasta 1981 (Painting in Chile: From the Colonial Period to 1981), the book cowritten by Milán Ivelic and Gaspar Galaz. Richard takes issue with a number of [...]

This unsigned article reviews the works of the Colectivo Acciones de Arte (CADA), the art action group that took the name used as the title of the article in question: Para no morir de hambre en el arte (To Avoid Dying of Hunger [or Starving to [...]