Documents of Latin American and Latino Art

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 [...]

This article by the critic Roberto Guevara is about 1 x 9: color de la serigrafía, the exhibition of works by the artist Mercedes Pardo at the Museo de Bellas Artes in Caracas. Guevara skims through the painter’s various earlier phases, and then [...]

In this article, Alirio Rodríguez discusses the definition and scope of Latin American painting, and its universal exposure. He stresses the importance of Figuration and Abstraction, both of which influence current and future painting in the [...]

In her criticism, Gloria Carnevali states that her approach to the work of the Venezuelan painter and printmaker Mercedes Pardo sets a priority on assessing “the spatial problems.” She believes this focus enables “a greater enjoyment and [...]

Ruth Auerbach interviews the Venezuelan artist Mercedes Pardo on the occasion of the latter’s retrospective exhibition at the Museo Alejandro Otero in Caracas (2000–01). Auerbach discusses Pardo’s career over the course of several decades. As [...]

Venezuelan artist, curator, and cultural manager Manuel Espinoza presents the exhibition La mano, la seda, el color [Hand, Silk and Color] (Museo de Arte Contemporáneo of Caracas, 1978), which featured prints on silk by nine Venezuelan artists: [...]

In this essay about Mercedes Pardo and her painting, the writer José Balza describes the Caracas milieu where she was born and grew up, and her life in San Antonio de Los Altos, not far from the capital city. Balza talks about Pardo’s early days [...]

In this essay on the Venezuelan painter and engraver Mercedes Pardo, Elizabeth Schon establishes the different phases “that were linked together through an intimate perseverance” in the artist’s career. She comments on and analyzes the [...]

This text is an interview by journalist Margarita D’Amico with Venezuelan artist Mercedes Pardo on the occasion of her 1969 exhibition, 1 x 9: color de la serigrafía, held at the Museo de Bellas Artes de Caracas. In it, Pardo discusses her [...]

In this article about the exhibition of works by the Venezuelan painter and printmaker Mercedes Pardo at the Museo Alejandro Otero (Caracas 2000–2001), the curator Bélgica Rodríguez addresses three of what she describes as the major aspects of [...]

In his introduction to Mercedes Pardo’s exhibition, the artist and critic Alejandro Otero discusses the range of possibilities he sees in her set of colorful mural panels. Otero suggests that Pardo’s exploration of color, based on breaking down a [...]

After a preface that addresses Mercedes Pardo’s painting [production], writer José Balza analyzes the Signes series. He explains that Pardo began that series by chance, owing to an impression of a nail cast on a piece of paper. Balza argues that [...]

This essay by María Fernanda Palacios was for the Moradas del Color exhibition catalogue (Caracas: Galería de Arte Nacional, 1991) of work by Mercedes Pardo. The author delves deeply into the life and work of the Venezuelan painter through a series [...]

Adopting a different tone from the one he used in his previous article (“El regreso a lo funcional y a lo decorativo”), Miguel Otero Silva assures his readers he has nothing against new trends in art; but he objects to the assumption that [...]

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 [...]