Documents of Latin American and Latino Art

This document relates the response of critic Córdova Iturburu to the survey regarding abstract art or non-figurative art, in which he leans toward the expression “non-figurative art” because it permits the inclusion of not only the geometric [...]

Cayetano Córdova-Iturburu presents Carlos Cañás’s exhibition (Galería Rubbers, Buenos Aires, October, 1966), emphasizing that both the will for balance and the order set by his painting stresses this artist’s classic position, despite the [...]

Cayetano Córdova-Iturburu presents Ferruccio Polacco’s exhibition, highlighting connections between his works and the visual structure of human reality. Likewise, the critic also points out  the process by which Polacco penetrated the human [...]

The Argentinean art critic Cayetano Córdova Iturburu responds to the survey sent by Jorge Romero Brest in regards to both to the means for and the actual selection of the artists for the 1962 Torcuato Di Tella Institute Prize. The critic proposes to [...]

Cayetano Córdova Iturburu introduces the exhibition of prints by Nelia Licenziato at Galería Lirolay (Buenos Aires, June, 1963) and expresses great enthusiasm for those who conquer interplanetary spaces. The critic also mentions the vitality of the [...]

This article exemplifies a spate of publications that came out in opposition to art that was “comprometido,” [“engagé” art]. It sets out to defend both art magazines/newspapers and the specialization of culture, in open opposition to placing [...]

Response of Cayetano Córdova Iturburu to the survey sponsored by the magazine Contra [Against]: “Should art serve social problems?” He challenges the response given by Jorge Luis Borges en Contra, issue 3, stating that it is mere humor and [...]

A negative critique by Cayetano Cordóva Iturburu about Kenneth Kemble’s show at Galería Peuser. Córdoba Iturburu refers to “dilatadas grafías” [Blow Up Scribbles] where the artist’s strict automatism is brought to the fore with a dynamic [...]

Cayetano Cordóva Iturburu gives a positive critique of the Destructive art exhibition due to its intelligent organization of the artworks, as well as for the expanded interpretation of art as either life blasted experience or a new poetics [...]

Cayetano Córdova Iturburu wrote a highly favorable review of the exhibition by Kenneth Kemble at Galería Lirolay. He praised the artist’s ability and training and discussed the text found in the artist’s exhibition catalogue, in which he [...]

Cayetano Córdova Iturburu defines Libero Badii's work from two different perspectives; on the one hand, he speaks of the robust plasticity of certain pieces, referring to their ancestral background, deeply rooted in the Pre-Colombian art in the [...]

Critical commentary by Cayetano Córdova Iturburu on the institution and the competition systems that, in his opinion, circulate only one type of artistic production: Pop art. In his judgment, the jury did not even consider the offerings of three [...]

Making use of anecdotes, Córdova Iturburu wrote of his understanding of Alberto Greco and his work Mi Madrid querido [My Beloved Madrid]. Relying on Jorge Romero Brest’s comments, he recounted how he familiarized himself with “pintura espectá [...]

The article highlights the importance assigned non-figurative art, not only at the Venice Biennial but also in the Salon de Realités Nouvelles in Paris, two exhibitions where Argentina was represented. In addition, it refers to the first non- [...]

This is a text in which Córdova Iturburu explains the particularities of non-figurative art; especially regarding the problems aroused by the absence of a subject matter (religious, political, social, or natural). In addition, the article notes the [...]