Documents of Latin American and Latino Art

In this essay, Luis Enrique Pérez Oramas analyzes a fragment of modern Latin American art history, presented through the form of “penetrable” works. The critic describes the development of the form with respect to its representation as [...]

Curator María Elena Ramos interviews Antonieta Sosa in the framework of the exhibition of her installation Cas(a)anto at the Museo de Bellas Artes, Caracas. Ramos introduces the dialogue with a brief description of the concept of “self-monitoring [...]

In this essay, the curator Carmen Hernández reviews Cas(A)nto, the multimedia installation by Antonieta Sosa at the Museo de Bellas Artes de Caracas in 2000. Hernández discusses the artist’s career since her constructive painting in the 1960s [...]

In this essay about Cas(A)nto, the installation by Antonieta Sosa at the Museo de Bellas Artes, Caracas, Luis Enrique Pérez-Oramas describes the Venezuelan artist as the heir to the Latin American Abstract-Constructive tradition, and a member of the [...]

In this text, the Venezuelan artist Antonieta Sosa describes the contents of her installation Cas(A)nto (Caracas: Museo de Bellas Artes, 2000). She takes two of her obsessions, “the internal and the external” and uses these opposites to work [...]

In this text, Chilean-born curator Carmen Hernández examines the work of Venezuelan artist Antonieta Sosa included in the group show, Desde el cuerpo: alegorías de lo femenino. In Hernández’s view, Sosa’s work upholds the idea of the feminine [...]

This essay by curator Rina Carvajal was written for Uno, Dos, Tres, Cuatro, an exhibition featuring Venezuelan artists Alfred Wenemoser, Héctor Fuenmayor, Roberto Obregón, and Antonieta Sosa held at the Museo de Bellas Artes in Caracas in 1991. [...]

This is José Ignacio Herrera’s essay about the works on paper (or in which paper plays a key role) created by three of the four participants in the exhibition Uno, Dos, Tres, Cuatro (Caracas: Museo de Bellas Artes, 1991): Héctor Fuenmayor, [...]

In this gallery text, Venezuelan artist Antonieta Sosa describes the action Del Cuerpo al Vacío [From My Body to the Void], which was structured into three interrelated parts. Part I, performed in the courtyard of the Galería de Arte Nacional (GAN [...]

In the design ¿Y por qué no?, the artist Antonieta Sosa describes the action planned in detail. As she states it, this work consists of placing wine glasses on different parts of her body so that they will drop and break. Added to the sound of [...]