Documents of Latin American and Latino Art

Perán Erminy discusses popular art in Venezuela during the II Bienal Nacional Salvador Valero de Arte Popular held in Trujillo (estado Trujillo) in 1988. He also looks back, to colonial times and the early twentieth century. Erminy recalls the first [...]

In his review of the XIX Salón de Arte Venezolano (1958), the critic Perán Erminy notes the ingenious reliance on historical criteria in the arrangement of works selected for the event, from the old landscape masters to the new style of Abstract [...]

The art critic Perán Erminy reviews and analyzes the exhibition Testimonios organized by El Techo de la Ballena in the context of an international meeting of this group. In this text, Erminy points out what he finds interesting in this exhibition: [...]

The art critic Perán Erminy sets forth the standards for organizing the Third Bárbaro Rivas Biennial of Popular Art (Museo de Arte Popular de Petare, Caracas, 1992), explaining the changes in the conditions of the competition stated in the related [...]

Perán Erminy discusses sculpture in relation to what he sees as its origins in Judeo-Christian mythology: the Bible states that man was molded out of earth, which Erminy understands as the first sculptural form. Erminy upholds the historical [...]

Art critic Perán Erminy begins his essay by etymologically relating the first and last name of the Venezuelan painter Marco Miliani with aspects of his art, permitting him to construct an interpretative model based on metaphors and symbolism. [...]

In this essay written in 1965, Perán Erminy examines Venezuelan abstract sculpture in the mid-twentieth century, at the same time he explores the qualities of the sculptural work of Pedro Briceño. The text goes over the list of the new artists who [...]

In this text, the Venezuelan artist and critic Perán Erminy reflects on the relationships between the so-called art categories of “popular art” and “non-popular art” in contemporary art and in the framework of the exhibition Confluencias. [...]

Through his criticism, Perán Erminy defines the work of the Venezuelan visual artist shown in Alberto Brandt: Exposición de pinturas (Centro Profesional del Este, Caracas, 1957). In this text, Erminy postulates that this work is a definitive [...]

In this text, the critic Perán Erminy proposes a visual and symbolic analysis of the popular style of landscape painting practiced by Josefa Sulbarán, in recognition of her twenty years of creating art in Venezuela. Erminy divides his essay into [...]

Critic Perán Erminy reflects on Mateo Manaure’s Pinturas sobremontaje. After describing the Venezuelan painter’s body of work as “unclassifiable,” Erminy discusses Manaure’s unique vision in relation to his creative effort at the time of [...]

Critic Perán Erminy expresses his opinion of the works by Venezuelan artist Luis Guevara Moreno exhibited at the Sala Mendoza in Caracas. He asserts that because Guevara Moreno has replaced “intimate and autobiographical lyricism” with the [...]

In this critical essay introducing the book Pintores populares de Caracas, Perán Erminy explains his view of the problems of the valorization and understanding of vernacular art. The author clarifies that he was not responsible for the selection of [...]

The critic and historian Perán Erminy evaluates the work presented by the painter Jacobo Borges at the exhibition Jacobo Borges. Dibujos recientes,hosted by the ¡Viva México! gallery in Caracas. Erminy claims that the Venezuelan artist’s goal is [...]

In this article, the group of Venezuelan artists called Los Disidentes (Paris, 1950) responded to the attacks launched at them in the Caracas press by the artists association La Barraca de Mari-Pérez (Caracas, 1947). Describing how their group got [...]

In this article, critic Perán Erminy takes stock of Marta Traba’s controversial visit to Caracas in 1965, arriving at the conclusion that the resulting debate was “extremely positive.” As a Venezuelan, Erminy maintains a favorable view of her [...]