Documents of Latin American and Latino Art

The art critic Mário Barata believes that architecture should be seen as art, rather than being viewed purely in terms of its technical aspect, which would tend to group it with engineering rather than with art and, in fact, condemn it to be taught [...]

In this essay the art historian Mário Barata discusses various facets of the African-inspired sculpture produced by Brazilian artists. He notes the diversity in style from one African nation to another, and identifies the influences that are most [...]

In this article, Mário Barata transcribes a manifesto written by a group of artists demanding that the São Paulo Biennial enact a number of modifications in its bylaws, particularly in relation to the selection of the jury and the artwork. It is [...]

According to the Brazilian critic Mario Barata, cultural identity derives from qualities that go beyond natural phenomena; it is also the result of planning and the promotion of works of art produced by a particular country. Permanent status is thus [...]

This is the leaflet produced for the exhibition of works by the German printmaker Hansen-Bahia that was shown in the cities of Salvador, Rio de Janeiro, São Paulo, Belo Horizonte, and Porto Alegre. In addition to reproductions of the artist’s [...]

The exhibition Iconografia de Massa, held at the Escola Superior de Desenho Industrial (ESDI) in Rio de Janeiro (1968), was introduced by art critic Mário Barata. Using the theories of Edgar Morin as his starting point, Barata defends the idea that [...]

In this text, Mário Barata discusses the production of Antonio Dias and how it fits into the European art market. He mentions certain formal characteristics of the work, such as confidence in the organization of planes and spaces, the use of [...]

In this lecture, given at the Seminário de Tropicologia de la Universidade Federal de Pernambuco, Recife, in 1967, the art critic Mário Barata explores the connection between painting and certain tropical areas as one possible way of determining [...]

In this text, Mario Barata ostensibly rejects the function of industrial art and crafts in the modern city. He sees benefits and drawbacks to the standardization of furniture and, naturally, of taste. On the other hand, he believes wholeheartedly in [...]

This is the art critic Mário Barata’s review of Nova Objetividade Brasileira, the exhibition presented at the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro) in 1967. He discusses the transformations that have taken place in Brazilian art as it [...]