Documents of Latin American and Latino Art

Alejandro Otero writes this article for Revista Cal to reflect on the work of fellow pioneer in abstract art (and his wife) Mercedes Pardo. It focuses on Pardo’s series of Signes, on view at the Sala Mendoza in Caracas. The Venezuelan modernist [...]

Juan Calzadilla refers to the latest installment in Alejandro Otero’s Papeles coloreados series; he calls the artist’s current period his most important one since Coloritmos, and identifies an underlying synthesis of the artist’s creative [...]

Roberto Guevara offers his thoughts in a critique of the artwork presented in Venezuela by the painter María Zabala, based on her most recent design using neon light. Guevara offers some background on Zabala’s creative life that illustrates her [...]

In connection with her exhibition in the Sala Mendoza (Caracas, 1990), the Venezuelan artist Isabel Cisneros wrote this [brief] introduction. In the essay, she explains how she entered into the world of ceramics, as well as her interests and [...]

Curator Cecilia Fajardo-Hill addresses the work of the artists featured in the ninth Premio Eugenio Mendoza in terms of a number of visual and conceptual issues. In her view, the event attempted to expand and question any possible definition of [...]

Curator Cecilia Fajardo-Hill reviews the tenth Premio Eugenio Mendoza exhibition, establishing relationships among the works that were exhibited. In this text she disclosed that the exhibition was not organized thematically, but the works were [...]

The writer describes and analyzes the work of the Venezuelan visual artist shown in the exhibition that bears his name, Juan Iribarren (Sala Mendoza, Caracas, 1994). Based on his study of these paintings, Luis Enrique Pérez-Oramas formulates what he [...]

In this essay Mara Comerlati discusses Colinas, árboles y valles, the exhibition of works by José Antonio Quintero at the Sala Mendoza (Caracas, 1981). In this series of drawings and paintings inspired by his observations of the countryside in the [...]

In this article, Roberto Guevara critiques the landscape work of Adrián Pujol, establishing conceptual links between his first works and the new representational proposal of the neo-landscape artist. Guevara highlights Pujol’s use of apparent and [...]

In this text, Juan Calzadilla critically reflects on Mateo Manaure’s “pinturas sobremontaje” conceived as a combination of painting and photography. In Calzadilla’s view, these works represent continuity, rather than rupture, within Manaure [...]

The journalist Lorenzo Batallán writes about the impending opening of Signos, the exhibition of works by the painter Mercedes Pardo at the Sala Mendoza (Caracas). In his article, Batallán describes this Venezuelan artist’s experimentation with [...]

Journalist Rubén Wisotzki interviewed Magdalena Fernández in 1996, when she was awarded the Premio Eugenio Mendoza. Fernández acknowledges that her work, particularly her studies in design to which abstraction and geometricism are fundamental, is [...]

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 [...]

Spanish collector José Luis Plaza affirms the importance of the engravings of Elisa Elvira Zuloaga, which were exhibited (along with some canvases on which she was still working) at the Sala Mendoza in Caracas. He discusses how Zuloaga pursues [...]

In this newspaper article Mara Comerlati reviews Re-presentaciones: foto-grafías y acupinturas, the exhibition of works by Claudio Perna at the Sala Mendoza (Caracas, 1981). Comerlati discusses the situation of this artist who, after spending many [...]

In the book 11 tipos. Arte en Venezuela en los años setenta, the researcher Juan Carlos Palenzuela makes an exhaustive study of Venezuelan art in the1970s, a time when conceptual art was unquestionably being produced in that country. The author [...]