Documents of Latin American and Latino Art

The researcher Irma Arestizábal comments on the placement of Argentinean avant-garde art, (always at the margin) in relationship to the hegemonic art centers. She writes based on a selection of works of Argentinean artists that appear in Venezuelan [...]

In this article the journalist A. M. I. researches the field of special edition books. She interviews Luisa Palacios, the printmaker and director of TAGA (Taller de Artistas Gráficos Asociados) in Caracas, tracing the origins of this kind of [...]

The journalist Lorenzo Batallán writes about the impending opening of Signos, the exhibition of works by the painter Mercedes Pardo at the Sala Mendoza (Caracas). In his article, Batallán describes this Venezuelan artist’s experimentation with [...]

Here, the French critic and journalist Thiébault-Sisson performs an exhaustive review of the artistic life of the painter Emilio Boggio. The article comments on his artistic beginnings and his relationships with his teacher Jean-Paul Laurens and his [...]

The researcher Victoria de Stefano wrote the introduction to a catalogue for the 1985 exhibition Nenias by the graphic designer Gerd Leufert at the Museo de Bellas Artes in Caracas. She provides an overview of the artist’s work, in contrast with [...]

Critic Juan Calzadilla wrote this text on Venezuelan artist Braulio Salazar on the fiftieth anniversary of his first solo show. That exhibition, Calzadilla explains, took place at a moment when Salazar’s efforts as an artist and as an educator were [...]

In a text on the drawings and prints of José Luis Cuevas written in 1985, the art historian Catalina Banko compares his work to that of the Mexican muralists in order to show the major differences between them. To accomplish this, the Venezuelan [...]

The text by Brazilian author Alberto Da Costa e Silva for the exhibition “9 grabadores del Brasil” [Nine Engravers of Brazil] (Museo de Bellas Artes, Caracas, 1968) presents an expansive view of the history and evolution of engraving in the [...]

This is Marta Traba’s critical review of the exhibition of silkscreen prints by Susy Iglicki at the Museo de Bellas Artes in Caracas. Traba discusses the Venezuelan artist’s use of space, color, planes, and volumes, while referring to her [...]

The Venezuelan critic Roberto Guevara introduces the exhibition of works by the first group of artists to have graduated from CEGRA (Centro de Enseñanza Gráfica, Caracas). In his article, Guevara discusses art instruction and describes CEGRA as an [...]

The journalist Maritza Jiménez reviews the presentation of a book-sculpture that includes prints by Lihie Talmor and poems by the Venezuelan writer Edda Armas. Jiménez describes how the book was conceived and created by Talmor with support from [...]

In this essay, Eugenio Montejo writes about the Venezuelan painter Alirio Palacios, comparing his paintings to the work of Armando Reverón. He mentions their relentless experimenting, the fact that they were both landscape painters (of the coastal [...]

This is the Venezuelan writer Igor Molina’s article about the work of the Venezuelan artist Alirio Palacios who, at the time this article was published, was thirty years old and had already had a considerable amount of experience. Molina, however, [...]

The journalist Lenelina Delgado interviews the artist Alirio Palacios on the occasion of the crisis at the Centro INCE (Instituto Nacional de Cooperación Educativa) de Diseño (Caracas). As the instructor at the print shop at INCE, Palacios [...]

The journalist Pablo Villamizar interviews the painter Alirio Palacios on the occasion of the opening of the latter’s exhibition Xilografías y concretografías. Grabado 1994–1999 at the Museo de Bellas Artes de Caracas. The 1999 exhibition [...]

Writer Eugenio Montejo introduces the graphic work of Alirio Palacios, a master whose work he deems on a level comparable to that of Armando Reverón. In Montejo’s opinion, Palacios was a major figure in Venezuelan art, especially in his treatment [...]

The journalist Edith Guzmán interviews Alirio Palacios about his printmaking and the exhibitions he was involved in at the time. Palacios explains that he has taken up woodcut printing again and has been experimenting with that technique, using what [...]

This text by Federica Palomero was written for Arte de América, the exhibition she curated in 1988 on the occasion of the anniversary of the founding of the Museo de Bellas Artes de Caracas. The text describes the origins of the collection of Inter- [...]

In 1997, the curator José Ignacio Herrera wrote this pamphlet on the evolution of printing in Venezuela from its beginnings in the nineteenth century through the development of the graphic arts in the twentieth century. The curator reviews the [...]

This essay by the historian Juan Carlos Palenzuela appeared in the catalogue for the Taller Huella exhibition held at the Venezuelan Embassy in Paris in 1995. Palenzuela briefly describes the pieces submitted by participating artists, whose work is [...]

In Venezuela, curator Katherine Chacón reviews the work of Colombian artist Beatriz González, particularly in reference to her re-creation of artistic masterpieces, in painting, drawing, and objects, since 1962. To do so she establishes connections [...]

María Elena Ramos introduces the exhibition of works by the fifth generation of graduates from CEGRA (Centro de Enseñanza Gráfico, in Caracas). Ramos explains that in its ten-year existence, CEGRA has graduated five generations of artists, all [...]

This article announces the exhibition of Venezuelan artist Luis Chacón at the Galería El Pez Dorado (Caracas). The show was mounted within the context of the transition that the Círculo Pez Dorado had passed through, whose leadership was now in [...]

In this interview with Venezuelan artist Luis Chacón, journalist José Antonio Rial offers an overview of his education, influences, preference in techniques, research, and proposals for engraving. He describes in detail his transition from the use [...]

The journalist Yasmín Monsalve interviews members of the Taller Huella at the exhibition they organized in November 1992 at the Sala CANTV (Compañía Anónima Nacional de Teléfonos de Venezuela). She also reports on the group’s origins and [...]

The curator Iris Peruga discusses the structure and content of the collection of works at the Museo de Bellas Artes de Caracas. She names artists and works, and links them to various key moments in the museum’s history. In her essay she talks about [...]

This article by the critic Roberto Guevara is about 1 x 9: color de la serigrafía, the exhibition of works by the artist Mercedes Pardo at the Museo de Bellas Artes in Caracas. Guevara skims through the painter’s various earlier phases, and then [...]

The researcher Federica Palomero reviews the history of Venezuelan art in the 1960s, which she describes as “the prodigious decade.” She discusses the major artists, movements, works, exhibitions, salons, biennials, and exhibition spaces of the [...]

This newspaper article (signed with the initials L. B. S.) is a review of the founding of the TAGA (Taller de Artistas Gráficos Asociados), which is described as being an extension of the 1960s printmaking movement connected to the workshop of Luisa [...]

The journalist Miriam Delgado interviews the Venezuelan engraver Gladys Meneses. During the course of the conversation, Meneses talks about an important change in her approach to her art. She explains that she decided to replace paper with other [...]

This essay by the Venezuelan researcher José Luis Guevara was published in the catalogue for the exhibition Un lector, algunos diseñadores gráficos, una década, at the Museo de Bellas Artes in Caracas. Guevara reviews the work of six Venezuelan [...]

The curator María Elena Ramos discusses the problem of space, both in architecture and in works of art that involve manipulating art and space; her frame of reference ranges from what is “visible and exists” (architecture, real space) to what is [...]

The journalist Aliana González discusses the search for a solution to the crisis unfolding at TAGA (Taller de Artistas Gráficos Asociados) in 1989. She mentions the sale of discounted works donated by TAGA members to benefit the group. She also [...]

In this article, the critic Roberto Guevara reflects on Venezuelan artist Mary Brandt’s work on account of the posthumous exhibition organized by the GAN (Galería de Arte Nacional) in Caracas. For Guevara, painting by this artist “experienced [...]

Critic Roberto Guevara presents an exhibition on CEGRA (Centro de Enseñanza Gráfica, Caracas), five years after its creation, analyzing the evolution of CEGRA in response to the state of arts education in Venezuela. He also states that at its start [...]

In this article, Juan Calzadilla introduces the exhibition of work by the second graduating class from CEGRA (Centro de Enseñanza Gráfica, in Caracas). He discusses the fundamental goals of this Venezuelan school workshop, suggesting that the [...]

In this article, the critic Rafael Pineda discusses the unpublished diary kept by the Venezuelan artist Emilio Boggio while he was living in Caracas in 1919. Pineda writes about Boggio’s return to the country where he was born, his reunion with his [...]

The critic Juan Calzadilla provides a broad overview of the history of Venezuelan printmaking, from its earliest days in the nineteenth century until this essay was published in 1978. He discusses certain landmark events along the way, such as how [...]

In this article, written for a corporate magazine, the Venezuelan artist Luis Chacón describes the history of printmaking in Venezuela, with a focus on the twentieth century. He briefly mentions the origins of this technique in Europe, and explains [...]

The historian Alfredo Armas Alfonzo wrote a biography on the life and work of the Russian artist Nicolás Ferdinandov, from the time when he lived in Venezuela until his death in Curaçao. He commented on the influence Ferdinandov bestowed on young [...]

In this text, Bélgica Rodríguez describes the creation of the Taller de Artistas Gráficos Asociados (TAGA). She explains that it was conceived as a workspace where printmakers could produce their projects. Rodríguez mentions those responsible for [...]

This article, by the journalist Mara Comerlati, is about the TAGA (Taller de Artistas Gráficos Asociados, Caracas). It was written after the Ministry of Urban Development announced its plans to build new premises for the TAGA in the vicinity of the [...]

In this newspaper article, Mara Comerlati writes about the TAGA (Taller de Artistas Gráficos Asociados, Caracas); she discusses its origins, its reason for being, and its objectives. She also identifies its benefactors and describes how the [...]

A year after Elisa Elvira Zuloaga’s death, Juan Carlos Palenzuela takes a broad look at her contributions to Venezuelan culture, not just as an artist but as a promoter as well. In Palenzuela’s opinion, Zuloaga’s greatest contribution was to [...]

This is critic Juan Calzadilla’s biographical essay for the catalogue produced by the Museo Emilio Boggio (Caracas: Concejo Municipal del Distrito Federal, n.d.). Calzadilla provides a detailed report about Emilio Boggio, discussing where he was [...]

Juan Calzadilla describes a visit to the Venezuelan artist Mary Brandt’s studio in 1972, during her one-woman show at the Sala Mendoza in Caracas. The critic discusses her technique, her use of color and form, and her canvases, slashed to reveal [...]

The critic Roberto Guevara suggests that the contrast in the Czech-born Venezuelan artist Marietta Berman’s two- and three-dimensional pieces appropriates space in her highly personal work. Guevara notes that the two-dimensional pieces in the [...]

In this essay about the selection of illustrations to accompany text, the Venezuelan curator Corina Michelena reflects on the blankness of the sheet of paper. In the case of an illustration, she suggests, that blankness actually represents the [...]

The critic Juan Calzadilla introduces the exhibition of prints by Luis Chacón at the Museo de Bellas Artes in Caracas, discussing the lack of a printmaking tradition and wondering what the artist might do to remedy the void in training opportunities [...]

F. Valladares reviews the III Exposición Nacional de Dibujo y Grabado held at the Facultad de Arquitectura y Urbanismo de la Universidad Central de Venezuela, Caracas. While the author remarks on the work of young Venezuelan printmakers like Luisa [...]