Documents of Latin American and Latino Art

This article discusses a text by Argentine painter Luis Felipe Noé in which he asserts that the responsibility of Latin American artists begins when they leave the region to become part of the international art scene. While Noé [...]

Hugo Parpagnoli recounts the public controversy provoked by the Premio Di Tella awarded to the works of Luis Felipe Noé and Rómulo Macció, both members of the group Otra Figuración [Other Figuration]. Parpagnoli reflects that these works were [...]

Jorge Glusberg signed this text about Trans-Vanguard painting in Latin America, mentioning its expressive tradition, its formal precedents, stylistic characteristics, as well as contradictions and originality [...]

The author of this essay, Aracy A. Amaral, mentions the importance of certain thinkers on the subject of Latin American art: Marta Traba, Ferreira Gullar, Luis Felipe Noé, Juan Acha, and Octavio Paz. In her opinion, “new” art feels obliged to [...]

Within the context of the historic reparation received by Gabriela Bocchi—who created Celda [Cell] in tandem with Jorge de Santa María (deceased)—and by Hugo Pereyra—who in turn conceived Made in Argentina with Ignacio Colombres (deceased)— [...]

William Sandberg writes about the impact he experienced when he got to know the cultural life of Buenos Aires. He mentions the solidarity of the artists who worked in groups, using as an example the artists from Otra Figuración [Another Figuration [...]

The text explains the objectives of the exhibition New Art of Argentina (Minneapolis: Walker Art Center, September 9–October 11, 1964); the characteristics of Argentinean art united to the successive immigration waves that happened to that country [...]

The text explains that the selection criteria for the artists appearing in the exhibition Buenos Aires 64 (New York: Pepsi-Cola Co., September 1964) was to show different vanguard groups’ expressions existing in Buenos Aires. It briefly [...]

The text informs about the curatorial characteristics, artists, and works that are presented at the exhibition organized by the Centro Cultural Recoleta (Buenos Aires), which is sponsored by Página/12 (Buenos Aires), under the title La vuelta [...]

Hugo Parpagnoli comments on the works both by Argentinean artists and by Antoni Tàpies, presented by the Torcuato Di Tella Institute at the Museo Nacional de Bellas Artes [National Museum of Fine Arts]. In addition, the critic argues that, in regard [...]

Regulations stating both which are the invited artists and the value of the prizes and norms that will be ruling the presentation of the artworks; this includes the materials to be attached and the deadlines [...]

This text by Hugo Parpagnoli analyzes the works presented by Luis Felipe Noé and Rómulo Macció. He states that the controversial atmosphere that arose from these works—awarded by the ITDT [Instituto Torcuato Di Tella]—proves that they were not [...]

This article is an interview with artist Pablo Suárez in which he is questioned regarding his actions within the Argentinean artistic scene of the 1960s. Among the diverse events he relates, he mentions the realization of the happening called [...]

The jurors of the Premio Instituto Torcuato Di Tella 1963, Jorge Romero Brest, Jacques Lassaigne, and William Sandberg, awarded the Premio Nacional [National Prize] to Luis Felipe Noé for his work and in particular, Introducción a la esperanza [ [...]

This article reports on the round table organized by the Museo de Arte Moderno of Buenos Aires regarding the new attitude of artists; it also offers some of the opinions proposed [during the event]. The debate was coordinated by the director of the [...]

This text was presented by León Ferrari (1920–2013) for discussion at the Primer Encuentro Nacional del Arte de Vanguardia [First National Conference of Vanguard Art] (Rosario, Argentina, 1968); it proposed what he called an “arte [...]

This is from the catalogue of the Nuevo Arte de la Argentina [New Art of Argentina] exhibition (Buenos Aires: Instituto Torcuato Di Tella, February 18 through March 8, 1964). The document explains that the goal of the exhibition was to present, in [...]

In this show of the Argentinean group Otra Figuración [Another Figuration] at Galería Bonino in Rio de Janeiro, the Brazilian writer and art critic Geraldo Ferraz points out the definition by Jorge Romero-Brest made at the exhibition of the New [...]

A critique by Salvador Linares of the Luis Felipe Noé exhibition at the Galería Bonino (Buenos Aires), the show at which he presented his Federal Series. In the judgment of Linares, referring to the past is a way for Noé to avoid the conciliatory [...]

Jorge Romero Brest introduces the artists Ernesto Deiro, Rómulo Macció, Luis Felipe Noé, and  Jorge de la Vega as a collective group. He points out the commonalities that the artists have with Informalism, such as a liberated approach to things [...]

Kenneth Kemble comments on the award granted at the São Paulo Biennial to the Argentinean sculptress, Alicia Penalba, living in Paris. This matter allows him to analyze the exodus of artists of the new generation in search of a public with a broader [...]

Kenneth Kemble is caustic in his article about the group exhibition involving Otra Figuración[Other Figuration] carried out by the Galería Peuser. Ironically, he proposes a game of counting heads amongst the paint spills, adding that children [...]

In this text Luis Felipe Noé refers to the political climate; he states: “it is painting that left me.” Noé discusses the development of his work as well as his relationship with the market in order to question whether painting is still [...]

Oscar Masotta wrote to Luis Felipe Noé a letter of apology for his mala fe [bad faith] and pedantería [piece of pretentiousness], and made a promise to respond, by carefully reflecting on the letter sent by Noé at the end of 1967 from New York, [...]

Luis Felipe Noé defines his personal relationship with the canvas as a human relationship; his painting is simultaneously figurative and abstract. Its abstraction is found in its] method in bringing the paint taut, thus a pictorial event is [...]