Documents of Latin American and Latino Art

In this interview, Carlos Cortez talks about his artistic influences, including the Mexican muralists, Käthe Kollwitz, and Rembrandt, among others. He considers the social, political, and economic motivations that underpin his art. He also describes [...]

In this essay for an exhibition of seven contemporary Latino artists entitled HOT!, Grant Samuelsen considers the term "magical realism" and its inadequacy as a label applied to contemporary Latino art. Samuelsen states that such labeling robs these [...]

Shifra M. Goldman wrote this text about María Enríquez de Allen to honor her for her contribution to art in the areas of flower making, Santos carving, and crafts. She especially praises Enríquez de Allen for enriching the visual vocabulary of [...]

This is a bilingual exhibition brochure for the Association of the Latino Brotherhood of Artists (ALBA) Festival held at Northeastern Illinois University in Chicago on April 2–5, 1974. In the brief text, ALBA members describe the history of the [...]

Denise Lugo, in this foreword to the exhibition catalogue Paul Sierra:  A Cultural Corridor, discusses what she calls “Latinismo,” which she explains as “the diverse American Latino aesthetic sensibility,” and its relationship to American [...]

Ricardo Pau-Llosa analyzes Arnaldo Roche[-Rabell]’s paintings by arguing that his works both represent unique identities and evoke a process of identification in the viewer that occurs at an existential level. Roche achieves this by upending [...]

With a brief introduction on the role of the intaglio technique in printmaking history, which was the dominant form of reproduction of paintings and drawings beginning in the 16th century, author Roy Sieber introduces the Iowa Print Group. This group [...]

In this text, author William Friedman analyzes the impact of Mauricio Lasansky—as artist and professor at the University of Iowa—in printmaking during the years 1946 to 1949. During this period, Lasansky and his students were the recipients of [...]

In this essay, George Vargas attests that Carlos Lopez “serves as a vital historical link connecting American modern art in Michigan with a new Latino history of the state.” During the 1920s–1940s, Carlos Lopez was a Latino artist who did not [...]