Documents of Latin American and Latino Art

The synopsis and the annotations in English are coming soon. However, our bilingual readers can click on “Español” to access this information in Spanish [...]

The art critic for the New York Times, Holland Cotter, introduces the artist Beatriz González—who is also an art critic—as an artist who defies the conventions imposed by the North American and European art markets and sets her own rules as [...]

In this interview, Doris Salcedo replies to the following questions, which were asked of all the artists who took part in the exhibition Nuevos Nombres-Seguimiento [New Names—Follow-up]: How would you define contemporary? How does your work [...]

This article discusses the work of the Colombian artist Luis Caballero from two different perspectives: one considers its common denominators; the other reviews its various phases ranging from his first solo show in Bogotá in 1966 to his mural at [...]

In this article the English historian Edward Lucie-Smith presents what he calls a “background to the work” of the Colombian artist Luis Caballero. This background includes a review of Caballero’s artistic influences (for example, the Dutch [...]

This article provides a chronological and critical review of the work of Beatriz González from the early 1960s through the end of the 1980s. In the introduction, Carolina Ponce de León discusses the artist’s personality and her origins in [...]

The Colombian artist Luis Caballero explains his rejection of modern art and his preference for art that is an expression of life. He describes how his work is influenced by the culture and religion of his native Colombia, and refers to the role of [...]

This extensive interview, which was motivated by journalist José Hernández’s curiosity about where Luis Caballero’s images come from, covers many topics: Caballero’s conception of art and painting; his sense of himself as Colombian; his view [...]

In this article, Marta Traba provides a critical analysis of the different stages of Luis Caballero’s career from the time he was awarded first prize at the Primera Bienal de Coltejer (held in Medellín in 1968) until 1980. Traba begins by [...]

This article contrasts the traditional nature of artist Luis Caballero’s studies in Paris, as well as his lifestyle and work, on the one hand, and the contemporariness of his paintings and drawings, on the other. English critic and art historian [...]

In this interview, artist Doris Salcedo and critic Carlos Basualdo—who is from Rosario, Argentina—analyze Salcedo’s career from her student days in Colombia in the late 1970s to the present—the late 1990s—when she had gained considerable [...]

In this article, Colombian artist Beatriz González provides what she describes as a “history of [Luis] Caballero’s artistic choices.” She begins with an analysis of possible early Colombian influences on Caballero, including religious painting [...]

This article is structured around the curatorial criteria employed by Carolina Ponce de León— curator of Colombian artist Beatriz González’s first solo exhibition in New York—specifically the way she divides González’s work from 1965 to [...]

As its title suggests, this article consists of notes by Beatriz González on her work as an artist, specifically the different stages of her production, as well as the processes, questions, and decisions that her work has entailed. She discusses the [...]

In this article, curator and art critic Dan Cameron analyzes and discusses the works Atrabiliarios [Defiant], La Casa Viuda [The Widowed House ],and La túnica del huérfano [Orphan’s Tunic], which form part of Doris Salcedo’s Unland series. [...]

In this interview, Doris Salcedo and Hans-Michael Herzog discuss the different stages of Salcedo’s artistic career, and the concepts and ideas important to her, specifically: her vision of herself as a “political artist” from a third world [...]

In this text, international art critic Mari Carmen Ramírez points to Colombian artist Óscar Muñoz’s longstanding interest in drawing and its limits. She first remarks on the relative realism of Muñoz’s work insofar as it consists of copies or [...]

In this article, Beatriz González formulates a link between the defiant attitudes of Colombian artists and critics, and the international social change that occurred during the sixties. She reconstructs the Colombian context in which those attitudes [...]

In this article, critic and art historian Charles Merewether points out that works like those of Doris Salcedo have an ethical and social role to play in societies where violence is a daily event. In such societies, the pain of the victims and their [...]

Katherine Chacón’s interview starts out with significant aspects from the life of the artist Beatriz González, especially those that influenced her work. It focuses on her university studies and professors, her family, the city where she was born [...]