Topic Descriptor: Pop×
  • ¡El Arte, virtud moral, al fin!
    Restany, Pierre
    1964
    The presentation of the Premio Torcuato Di Tella 1964, written by the French critic Pierre Restany, states that art should be de-mystified. In his judgment, the divorce between art and myth was emphasized during the Renaissance and easel painting, [...]
    ICAA Record ID: 762310

  • ¿Fuera del centro?: arte argentino en las colecciones venezolanas
    Arestizábal, Irma
    1995
    The researcher Irma Arestizábal comments on the placement of Argentinean avant-garde art, (always at the margin) in relationship to the hegemonic art centers. She writes based on a selection of works of Argentinean artists that appear in Venezuelan [...]
    ICAA Record ID: 1162631

  • ¿Pintores o plagiarios?
    Castro Arenas, Mario, 1932-
    1969
    This text by journalist Mario Castro Arenas comments on the controversy surrounding the work Motociclista No. 3 by Luis Zevallos Hetzel, first prize winner at the painting competition organized by the Festivales de Ancón. The debate had widened [...]
    ICAA Record ID: 1142315

  • ¿Por qué preferir una mujer a otra?
    1966
    This article is a review of the Premio Torcuato Di Tella 1966 [The Torcuato Di Tella Prize of 1966]; it describes the panorama and points out that on this occasion the Pop artists have rediscovered the attitude of creation; within it the personal is [...]
    ICAA Record ID: 759838

  • [El único rasgo singular del Premio Di Tella 1966...]
    Alloway, Lawrence
    196-
    Lawrence Oliver expresses his opinion here on Jorge Romero Brest’s methods at the Premio Torcuato Di Tella [Torcuato Di Tella Prize], specifically in terms of the support provided to the most talented artists that enabled them to present works they [...]
    ICAA Record ID: 757760

  • [En Buenos Aires, a los veintiocho dias del mes de septiembre...]
    Restany, Pierre; Greenberg, Clement, 1909-1994; Romero Brest, Jorge
    1964
    The jury appointed to judge the 1964 Premio Instituto Torcuato Di Tella [Torcuato Di Tella Institute Prize]—whose members included the critics Jorge Romero Brest (Argentina), Clement Greenberg (United States), and Pierre Restany (France)—decided [...]
    ICAA Record ID: 762276

  • [Hay artistas que originan movimientos y hay movimientos que engendran artistas...]
    Parpagnoli, Hugo
    1967
    The foreword to this catalogue was written by Hugo Parpagnoli—the director of the Museo de Arte Moderno in Buenos Aires, at that time—highlights the important role played by Dr. Isidoro Slullitel, the private art collector. He was a rare [...]
    ICAA Record ID: 753467

  • [Letter] 1968 Enero 11, Buenos Aires [to] [Luis Felipe] Noé
    Noé, Luis Felipe
    1968
    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, [...]
    ICAA Record ID: 740425

  • [Nos encontramos en un mundo determinado...]
    Grupo Arte Nuevo (Perú)
    1966
    This programmatic statement by the Grupo Arte Nuevo was included in the catalogue for their second exhibition, which ran from October to November 1966 at the MALI (Museo de Arte de Lima). Faced with “a world molded by the dramatic evolution of [...]
    ICAA Record ID: 1142834

  • [Un día el poeta sentó la belleza en sus rodillas … ]
    Guevara, Roberto, 1932-1998
    1968
    This essay by the critic and curator Roberto Guevara appeared in the catalogue for the exhibition 10 pintores venezolanos de la nueva figuración. In his opinion, figuration has gone down the same cyclical and unstable path as all the other [...]
    ICAA Record ID: 1060477

  • [Un inmenso movimiento de industrialización...]
    Hahn, Otto
    1966
    This introductory text by Otto Hahn analyzes some of the consequences of modern life within an industrialized city, such as uniformity, anonymity and the acceptance of triviality. He places the work of Robert Rauschenberg within this framework, as [...]
    ICAA Record ID: 757744

  • A arte e a hora do papelão
    Mas, Daniyel, 1923-1948; Vergara, Carlos
    1969
    In this interview Daniel Más asks the artist Carlos Vergara about the works he showed at the Petite Galerie in 1969. He discusses the significance of certain materials in his work; cardboard, for example, which he describes as a poor material that, [...]
    ICAA Record ID: 1110549

  • A gravura brasileira : os anos 60/70
    Morais, Frederico, 1936-
    1974
    The art critic Frederico Morais maintains that the print is “one of the last refuges of the visual arts” from the emergence of the new avant-gardes throughout the 1960s, in particular, Pop art. In this text, the print turns out to be the [...]
    ICAA Record ID: 1110706

  • A gravura de Lótus Lobo
    Gusmão, Luciano, 1943-2003
    1960
    In this article, Luciano Gusmão writes at length about Lótus Lobo’s prints and her ideas for a “caipira” [rancher] style of aesthetic nationalism based on an approach that is very closely related to Pop Art. Her work presents a variety of [...]
    ICAA Record ID: 1110482

  • A pintura contra a parede
    Guinle, Jorge, 1947-1987
    1983
    This document is a conversation between the painter Jorge Guinle and the critic Ronaldo Brito; the artists Carlos Vergara and Tunga are also part of the conversation. Focusing on the area he addresses in his ideas, Guinle discusses general aspects of [...]
    ICAA Record ID: 1110935

  • A pintura nova tem a cara do cotidiano
    Império, Flávio, 1935-1985
    1979
    In this text, architect and set designer Flávio Império asserts that new painting, characterized by direct and shameless objectivity due to a consumerist middle class, has broken with the subjectivities of Informalism and of Tachisme. He argues [...]
    ICAA Record ID: 1110444

  • A proposito de la Menesunda
    González Lanuza, Eduardo, 1900-
    1965
    This text introduces the conferences organized by Eduardo González Lanuza at Galería PROAR. His intention is not to speak from an aesthetic point of view on La Menesunda [Hodgepodge] but rather of Jorge Romero Brest’s conference held on June 11 [...]
    ICAA Record ID: 760004

  • A propósito del "Diario-objeto"
    Barney, Alicia, 1952-
    1977
    This document, written in 1977 by the Colombian artist Alicia Barney, is a mimeographed copy of the introduction to the installation Diario-objeto [Diary-Object] (1978) shown at the exhibition held at the Extensión Cultural [Cultural Extension] [...]
    ICAA Record ID: 1098241

  • A propósito del "plagio"
    Hernández Saavedra, Emilio
    1969
    The artist Emilio Hernández Saavedra adds his ironic comments to the discussion about Motociclista No. 3, the controversial painting by Luis Zevallos Hetzel that won first prize at the competition organized by the Festivales de Ancón (1969). [...]
    ICAA Record ID: 1142331

  • Apresentação
    Mendonça, Casimiro Xavier de
    1988
    In his presentation of the exhibition 63/66: Figura e Objeto, Casimiro Xavier de Mendonça asserts that the sixties witnessed an explosion of utopias and changes with the advent of a new generation of creators. Regarding the exhibition, he attempts [...]
    ICAA Record ID: 1111423

  • Apresentação
    Alvarado, Daisy V. M. Peccinini de
    1978
    In this text presenting the exhibition Objeto de arte Brasil anos 60, Daisy Peccinini describes the research carried out for the event, placing particular emphasis on the publication of a series of critical documents, statements, and interviews with [...]
    ICAA Record ID: 1111424

  • Arte : Ortopedia, humor y algunas obsesiones
    1964
    This article describes the characteristics of the works included in the exhibition Sexteto [Sextet] (Buenos Aires: Galería Lirolay, 1964) and reprints the artists’ opinions regarding the show’s classification as Pop art, a term that was used by [...]
    ICAA Record ID: 760919

  • Arte actual : el pop y un artículo
    Ortiz de Zevallos M., Augusto
    1969
    Augusto Ortiz de Zevallos responds to Juan Acha’s arguments, which were published a week earlier in El Comercio. Both articles were key elements in the debate concerning Motociclista No. 3, Luis Zevallos Hetzel’s work of art that was awarded [...]
    ICAA Record ID: 1142347

  • Arte cinética e pop arte
    Motta, Flávio L. (Flávio Lichtenfels), 1923-
    1969
    Flávio Motta acknowledges that the diverse biennials that took place in São Paulo established a new phase which sought out art from abroad; although they also resulted in the puzzling [concept of the] “happy native.” They lacked the ability to [...]
    ICAA Record ID: 1111367

  • Arte pobre : gato encaixado
    Motta, Flávio L. (Flávio Lichtenfels), 1923-
    1973
    Under the heading of Arte pobre, with its implicit subtext of l’arte povera, Flávio Motta presents a small object he created: Gato encaixado [Embedded Cat, 1973]. This sculpted feline figure is mounted on a little box engraved with a humorous text [...]
    ICAA Record ID: 1111369

  • Arte Pop : procedimientos y finalidades
    Acha, Juan, 1916-1995
    1969
    This text by Juan Acha is an important contribution to the debate that arose when Luis Zevallos Hetzel’s work, Motociclista No. 3, won the grand prize at the painting competition organized by the Festivales de Ancón. Acha questions the accusation [...]
    ICAA Record ID: 1107517

  • Ay de los intelectuales que están en el limbo!
    Traba, Marta
    1965
    In response to J. R. Guillent Pérez, art critic Marta Traba defines the term “apocalypse”—used by her in an article that unleashed a great controversy in Caracas—as the chaos and dissolution of existing social structures, as well as the [...]
    ICAA Record ID: 799428

  • Buenos Aires inundado por un escandalo que tiene bastantes dosis de inocencia : ¿Arte vivo o arte de vivos?
    1965
    The text describes the environments presented in La Menesunda [Hodgepodge]. It emphasizes its scandalous nature, judging it to be an art fraud committed against the public. It refers to a survey conducted by the journalist on the attending public, [...]
    ICAA Record ID: 759807

  • Calendario : Arte : "Pop Art"
    1964
    This text relates to the exhibition 6 artistas en Lirolay [Six Artists at Lirolay]. Sexteto [Sextet] held at Galería Lirolay (Buenos Aires) in January and February of 1964. It asserts that works by “exponen los campeones nacionales del pop-art, [...]
    ICAA Record ID: 760906

  • Cinco días en Cali-Fanny : grandezas y miserias de la cultura subdesarrollada
    Traba, Marta
    1964
    Marta Traba wrote an exhaustive chronicle on “the high and low points” of the Festival de Arte de Cali (1964). She highlighted the performance of the actress Fanny Mikey, the enthusiastic organizer of the event, who became “Califanny” for the [...]
    ICAA Record ID: 1105031

  • Con cachivaches hacen muestra de Pop Art en Lima
    1965
    This article about the installation Mimuy (1965) appeared in Última Hora, a popular national newspaper. Published two days after the opening of the exhibition, the article notes the large number of comments received so far. It also mentions the [...]
    ICAA Record ID: 1142819

  • Con Marisol y a veces sin ella : crónica de una no entrevista
    Guevara, Roberto, 1932-1998
    1973
    In this essay, the Venezuelan critic Roberto Guevara not only addresses the Pop art work of the Venezuelan-North American sculptor Marisol [Escobar] but also the varied characteristics of her personality. Guevara examines the underlying true [...]
    ICAA Record ID: 1163318

  • Contenidos imposibles
    Peruga, Iris
    1996
    In her essay about the work of the Spanish-born Venezuelan artist Gabriel Morera, Iris Peruga provides a chronological timeline of his career, analyzing most of his works of art and suggesting that his work should be divided into four different [...]
    ICAA Record ID: 1162695

  • Crise ou revolução do objeto: homenagem a André Breton
    Pedrosa, Mário
    1967
    According to Mário Pedrosa contemporary art is characterized by “objectivism” or by a rejection of self-expression. In this essay he refers to the symbolic objects suggested by Salvador Dalí and to “the crisis of the object” identified in [...]
    ICAA Record ID: 1110434

  • Crítica : Tres pintores, tres tendencias Premio Internacional Di Tella 64
    Gorriarena, Carlos, 1925-
    1964
    This text by Carlos Gorriarena focuses on Pierre Restany’s report published in the catalog for the Premio Torcuato Di Tella[1964 Torcuato Di Tella Prize] 1964, in which the French critic points out that Nuevo Realism [New Realism] is an art of [...]
    ICAA Record ID: 762371

  • Cuevas, un caso de afirmación del yo : (al servicio de lo universal y comunicativo, o al servicio de lo anónimo...)
    Goeritz, Mathias, 1915-1990
    1966
    According to Mathias Goeritz , José Luis Cuevas is “one of the greatest artists that Mexico has ever produced.” His talent has, in fact, been widely acknowledged by artists and intellectuals. But Goeritz believes that, in addition to his [...]
    ICAA Record ID: 751413

  • De "Opinião-65" à 18ª Bienal
    Arantes, Otilia Beatriz Fiori
    1986
    Looking through the prism of her philosophical education, Otília Arantes explores the different approaches taken as a result of the Brazilian political situation⸺following the military coup d’etat that installed an iron-fisted [...]
    ICAA Record ID: 1110641

  • De arte : Zevallos : un Prop-Eller
    Castillo, Carlos Aitor, 1913-2000
    1969
    In this article Aitor Castillo talks about Pop Art in connection with the exhibition of works by Luis Zevallos Hetzel at the gallery of the Fundación para las Artes (Lima, 1969). Without directly mentioning it, Castillo refers to the controversy [...]
    ICAA Record ID: 1142219

  • De cómo el Gral. Velasco reventó el "¡Pop! Art"
    Freire Sarria, Luis, 1945-
    1983
    This article was written by the journalist and art critic Luis Freire Sarria, following his visit to the Museo de Arte de la Universidad Nacional Mayor de San Marcos, in Lima. There, he would discover, among the collections, a great quantity of Pop- [...]
    ICAA Record ID: 1139323

  • Discusión sobre arte pop ¿queda algo por hacer?
    This text is a transcription of a conversation between Carlos Squirru, Dalila Puzzovio, Count Jaime Mora y Aragón, and Jean Cartier that took place during an informal meeting. One may perceive the doubts then being awakened by Pop Art through the [...]
    ICAA Record ID: 762125

  • El pop art
    Bastidas, Arturo
    1964
    In this document, excerpted from the “Colombia pregunta” [Colombia Asks] section of La Nueva Prensa [The New Press] magazine, Arturo Bastidas, from the city of Pereira, asks for a definition of Pop Art. The magazine editor replies to his question [...]
    ICAA Record ID: 1131207

  • El Premio Nacional Instituto Di Tella 1966
    Romero Brest, Jorge
    1966
    This text summarizes the concepts raised by Jorge Romero Brest in relation to the debates provoked by the Premio Torcuato Di Tella [Torcuato Di Tella Prize]. It establishes rules to be followed for the analysis of those who paint or sculpt images, [...]
    ICAA Record ID: 761929

  • En la sociedad pop la vanguardia no está en las galerías de arte
    Noé, Luis Felipe
    1966
    Luis Felipe Noé writes an assessment of the artistic scene in New York in 1966. The city is the commercial center of the art world, although he judges it to be not the international center, but the national center of the world’s most important [...]
    ICAA Record ID: 740663

  • Evolución del arte moderno en la Argentina
    Pellegrini, Aldo
    1965
    Pellegrini's text remarks that during the nineteenth century, Argentine art mainly adapted to academic patterns. For the later evolution of Modern art, the critic adopts a division based on three fundamental periods: first, the artists who absorb [...]
    ICAA Record ID: 745452

  • Gabriel Morera
    Dimitriades, Christiane, 1953-
    1983
    The university professor Christiane Dimitriades studies the assemblages (“boxes”) by Gabriel Morera, analyzing the main features—such as their varied contents and three-dimensional nature—which make them so much more than simply painting and [...]
    ICAA Record ID: 1162791

  • Gerchman, o artista que testemunha e se faz presente
    Gerchman, Rubens, 1942-2008
    1967
    The visual artist Rubens Gerchman writes his own autobiographical profile, including details about his most recent work. He mentions the early challenges he faced, when his work was not understood and was sometimes considered to be unfinished [...]
    ICAA Record ID: 1111086

  • La entrevista
    Ángel, Félix
    1976
    In his work, Juan Camilo Uribe makes use of the language of Pop art to formulate a reflection on Colombian popular and local culture. In this interview, Uribe discusses different facets of his production such as humor, which he considers fundamental [...]
    ICAA Record ID: 1129508

  • La fecundación de un aprendizaje : Alirio Palacios en Varsovia
    Valero, Alberto, 1945-
    1971
    While in Warsaw, Poland, the journalist Alberto Valero interviewed the Venezuelan artist Alirio Palacios as a student at the Polish Academy of Fine Arts. Palacios recounts his experiences and how his vision of poster design had been enriched, and [...]
    ICAA Record ID: 1155717

  • Llamado al espectador : Top Pop
    Aroztegui, Joaquín, 1943-
    1967
    In this text, Joaquín Aroztegui reflects on new tendencies in Uruguayan art, whether in the form of writings or exhibitions, such as happenings, concretism, Op Art, and kinetic art. Those new tendencies are described as new languages born of [...]
    ICAA Record ID: 1195546

  • Los 4 vientos
    1969
    This brief anonymous article addresses the debate on the subject of Motociclista No. 3, by Luis Zevallos Hetzel, winner of the first prize at the painting competition organized by the Festivales de Ancón (a resort on the outskirts of Lima). The [...]
    ICAA Record ID: 1142204