Documents of Latin American and Latino Art

Journalist Teresa Alvarenga interviews Venezuelan painter and sculptor Omar Carreño on the occasion of his fiftieth birthday. The conversation revolves around Carreño’s current artistic and academic interests. The artist reflects on the [...]

Juan Calzadilla begins his critical essay by relating a crisis in geometric abstraction to the exploration of Informalism by Omar Carreño. Calzadilla reflects on Carreño’s embrace of the gestural and material aspects of the trend in his paintings [...]

In this essay, the critic Víctor Guédez reflects on the artistic language developed by the Venezuelan painter and sculptor Omar Carreño. The author states that an artistic career should be viewed as the result of a series of experiments, and not [...]

The critic Carlos Maldonado Bourgoin discusses the painter and sculptor Omar Carreño’s latest work, in which he returns to his exploration of geometrical abstraction. Maldonado Bourgoin mentions the Venezuelan artist’s passion for research, [...]

The critic Carlos Silva interviews the visual artist Omar Carreño on the occasion of his presentation of new work in Venezuela. Silva seeks to explain the inspiration and circumstances that led Carreño to produce a series of Figurative works, [...]

Journalist Mara Comerlati interviews Omar Carreño for his exhibition at the Museo Boggio in Caracas. The show brings together work from the artist’s figurative period, before his stay in Paris (at the end of the 1940s and beginning of the 1950s) [...]

The journalist Antonio Muiño (also known as “El Diablo Cojuelo”) interviewed Omar Carreño with the aim of acquainting the [Venezuelan] public with expansionism, an ongoing aesthetic movement that he was proposing from Paris. Outlining Carreño [...]

Scholar Susana Benko traces the artistic career of Omar Carreño. After brief reflection on the importance of changes in the understanding of the arts, she recounts and analyzes the significant events in the work of the Venezuelan painter and [...]

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 [...]

Alejandro Otero publicly expresses his disagreement with the choice for the Official Sculpture Prize, which the jury at the XVIII Salón Oficial de Arte Venezolano awarded to the Spanish sculptor Eduardo Gregorio shortly after the latter’s arrival [...]

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 [...]