Documents of Latin American and Latino Art

This article by Ricardo Pau-Llosa focuses on the motif of the human body as the one theme that constantly recurs throughout the work of Cuban-American artists. He notes that this is unique given the distance that they live from one another. So that, [...]

Ricardo Pau-Llosa’s chapter focuses on fine art production by Miami’s Cuban-American population. Before discussing the work thematically, he notes that in Miami there has been a “resistance to seeing Cuban and Latin American Art as an equal [...]

Cuban-American critic Ricardo Pau-Llosa asserts that there is a distinctive Latin American modern art that developed in the 1920s and 1930s. In his view, the privileged resource of Latin American visual approach is metaphor, whereas North American [...]

In this essay, the North American poet and critic Ricardo Pau-Llosa writes about the Venezuelan painter Luis Lizardo on the occasion of the exhibition of work by the latter in the United States (Miami: Ambrosino Gallery, 1992). The critic discusses [...]

The essay by Ricardo Pau-Llosa on the work of Cuban-born artist, Humberto Calzada, is divided into three sections. In the first one, “The Symbolism of Order,” Pau-Llosa addresses Calzada’s move from painting elements of colonial Cuban [...]

The essay by Ricardo Pau-Llosa on the work of Cuban-born artist, Humberto Calzada, is divided into three sections. In the first one, “The Symbolism of Order,” Pau-Llosa addresses Calzada’s move from painting elements of colonial Cuban [...]

Ricardo Pau-Llosa’s essay discusses six generations of modern and contemporary Cuban artists, most in exile, and their art as it deals with alienation and uprooting. According to Pau-Llosa, the first generation (1920s) includes the founding fathers [...]

In this bilingual essay, Cuban poet and art critic Ricardo Pau-Llosa argues that Latin American painting and photography are inextricably linked by the presence of thematic similarities and shared motifs, despite their obvious formal differences. [...]

Ricardo Pau-Llosa’s essay discusses six generations of modern and contemporary Cuban artists, most in exile, and their art as it deals with alienation and uprooting. According to Pau-Llosa, the first generation (1920s) includes the founding fathers [...]

In this [1993] essay, the critic Ricardo Pau-Llosa states that the objective sought by Luisa Richter is to recover the essential from the visual languages of Abstract art. Through such languages, the Venezuelan painter represents complex ideas about [...]

In this essay, Ricardo Pau-Llosa discusses the work of Cuban-born artist Rafael Soriano as a prime example of what he has termed “oneiric luminism,” which is Latin American art’s most original contribution to modernism, according to the author [...]

In this essay, Ricardo Pau-Llosa discusses the work of Cuban-born artist Rafael Soriano as a prime example of what he has termed “oneiric luminism,” which is Latin American art’s most original contribution to modernism, according to the author [...]

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 [...]

In this essay, Ricardo Pau-Llosa analyzes the paintings of Chicago-based, Cuban-American artist Paul Sierra within a framework of the convergence of nineteenth-century American landscape painting with what he calls the “theatricality” of Latin [...]