Documents of Latin American and Latino Art

In Sheila Leirner’s opinion, “reductive art” is an important factor in the moral compass of contemporary international artwork. In order to have its effect, the reductive approach would have to bring about a radical change in Brazilian art and [...]

In this text, Sheila Leirner interweaves her critical thinking on art and on criticism itself, stating that the division between the critical function and the practice of art is being diluted by Conceptual art. Leirner believes that this art trend [...]

In this article, the critic Sheila Leirner seeks to differentiate between marginal art, marginalized art, and art that is understood as marginalized by the artist who created it. In her opinion, there is a tendency to regard marginal art and artists [...]

Sheila Leirner discusses feminine and feminist art in Europe, the United States and Brazil. In her opinion, movements of this kind proliferated in 1980s art, which also served as a vehicle for reporting on the situation of the woman in the [...]

Here, Sheila Leirner discusses the exhibition Interior Reliefs, by the U.S. artist Mary Dritschel, held at the Luisa Strina gallery in São Paulo. To this critic, the works exhibited have almost the same impact as the artist’s first exhibition in [...]

The Brazilian art critic Sheila Leirner considers the scope of the exhibition by Mary Dritschel, the U.S. artist with a show at the Luisa Strina gallery in São Paulo: Da Caixa à Flor. The artist’s work was a contemporary example of “ [...]

Sheila Leirner wrote this article about Marcello Nitsche’s exhibition, Alegres Saudações. The critic reminds us that the artist works in a tradition whose field of action is irreverence, humor and contemplation of the nature of art. That is how [...]

Brazil-based art critic and curator Sheila Leirner wrote this text for the catalogue to the show 3x4 Grandes formatos held at the Centro Empresarial Rio in 1983. The author discusses the scale of the works exhibited as well as the resurgence of [...]

This text is an interview by art critic Lisette Lagnado with Sheila Leirner, the curator of the XVIII and XIX São Paulo Biennials. Leirner asserts that she believes that the tasks of art criticism and curating are of equal importance. Her education [...]

Sheila Leirner, the curator of the Eighteenth São Paulo International Biennial [1985], introduced her curatorial model based on “a universalist vision and the abolition of borders in time and space.” She expected that as well as the new media [...]

In this text, Sheila Leirner analyzes the artwork produced in Brazil, starting with her assessment of pluralism in international art. She arrives at the hypothesis that artwork in Brazil is not content to reproduce foreign models. One advantage of [...]

Sheila Leirner, chief curator of the Nineteenth São Paulo International Biennial, introduced a universalist art perspective into the exhibition she was directing. Its internationalism could not be attributed to the fact of grouping a number of [...]

In this text, Sheila Leirner praises a show of work by Carmela Gross as a clear demonstration of a thought process at work. Leirner remarks on the radical and artistically revolutionary stance of these works in relation to traditional drawing and its [...]

In this article, the art critic Sheila Leirner avoids mentioning any particular case while discussing the “discouragement” caused by the news of the imprisonment of an artist accused of the crime of “free expression.” She muses on the role of [...]

In this article, critic Sheila Leirner formulates the tie between the place where a work of art is produced and the work itself. In her view, artists can be divided into those who engage problems innate to art and those who make use of images for the [...]