Documents of Latin American and Latino Art

Ferreira Gullar uses his newspaper column to reply to an article that appeared in the Correio da Manhã in which Waldemar Cordeiro challenged his review of an exhibition of works by Concrete artists from São Paulo at the MAM-RJ (Museu de [...]

In this essay, Ferreira Gullar offers a “panoramic view” of the developments and theoretical tenets of Neoconcrete art in Brazil. As in other essays [see in the ICAA digital archive “Da arte concreta à arte neoconcreta” (1315036)], Gullar [...]

In this essay, Ferreira Gullar challenges the position taken by Rio de Janeiro’s so-called neo-Concrete artists in his account of the two movements’ shared history and disagreements. In his opinion, the genesis of Brazilian Concrete art [...]

This text includes a few excerpts from the six lectures that Jorge Romero Brest gave in São Paulo in 1948. At that time, Romero Brest held an academic position at the Universidad de Montevideo and was the director of the magazine Ver y estimar [...]

In this article, Venezuelan critic and professor Mónica Amor refutes the constructivist and organicist approach that has been used to understand Gego’s work. That approach, she claims, does not address the way Gego’s production undermines [ [...]

Lúcio Costa discusses Max Bill’s lecture, the text of which was published in Habitat magazine. It was a controversial article that prompted a great deal of discussion at the time. Costa highlights the differences he sees in modern Brazilian [...]

As a complement to the lecture offered by Max Bill (in June 1953 and published shortly thereafter in the magazine HABITAT), Eduardo Coronado offers a defense of Brazilian architecture. He refers to the Swiss architect’s presumption to express a “ [...]

In this essay, Max Bill analyzes the evolutionary potential of painting-sculpture in the wake of the accomplishments achieved by earlier artists. He places his trust in an art that, underpinned by a broad mathematical base, would not produce a “ [...]

In this document Damián Bayón analyzes the different periods of the work and thought of Piet Mondrian. He believes that in his search for balance, this Dutch artist adopted the right angle as the only constant relation. At the same time, and so [...]

In this article, Aldo Pellegrini recognizes a link between Surrealist art and Abstract art prone to expression. In this sense, he also considers it possible to establish this same relationship with the Concrete artist. Although the latter rises out [...]

In this review, Abraham Haber discusses the connections created by Mondrian, Le Corbusier, Gorin, and Max Bill between painting and architecture, in order to show how they differed from the ideas that were proposed by Perceptivism [...]