Documents of Latin American and Latino Art

In this letter dated June 20, 1988, the English critic and curator Guy Brett expresses his gratitude to the Brazilian collector Adolpho Leirner and his wife, Fulvia Leirner, for the time they spent together in São Paolo. Brett is especially [...]

Lucila Velásquez begins this interview with a reflection on the role that experimentation plays in the creative process, especially that of an artist such as Oswaldo Vigas, the Venezuelan painter. Velásquez discards the experimental dimension of an [...]

The brochure Trastorno: diálogo entre Jaime Iregui y Carlos Salas records a conversation held between the two Colombian artists in May 1999, days before their joint exhibition at the Museo de Arte Moderno in Pereira. The Pereira exhibition would [...]

The book Guía de la primera exposición anual organizada bajo la dirección del rector de dicha escuela, General Alberto Urdaneta (1886) features a collection of the works assembled for the 1886 exhibition. These works were gathered by Urdaneta, [...]

This is a letter written by Casimiro Eiger to Roberto García Peña, the director of the Bogotá newspaper El Tiempo, in response to an article published in that newspaper on June 15, 1954. According to the letter in question, the painter Ignacio Gó [...]

This article, written by the Spanish art critic Francisco Gil Tovar, discusses the Banco de la República Art Collection three years after it was founded. The article is divided into five brief sections, as follows: an introductory paragraph, “La [...]

Writer Gustavo Santos Montejo begins his essay on the now closed Museo de Bellas Artes (also known as the Museo de la Escuela de Bellas Artes) with a tribute to artist and cultural advocate Roberto Pizano Restrepo, who—in the late twenties—was [...]

In this article, the critic Natalia Gutiérrez reviews a number of works by Alberto Baraya, such as his photomontages in Proyecto recorridos (1997–98), Mitificación artificial de una pintura (1998), Herbario de plantas artificiales (2002−), and [...]

By way of an introduction, Lázaro María Girón dedicates the first part of this text to discussing the risk that the private collection of Colombian painter, draftsman, and journalist Alberto Urdaneta [will] be dispersed. He recalls the neutral [...]

In this essay, Karen Mary Davalos addresses the complex dynamic between Chicano art collectors and the objects in their collections as a relationship of “othering” by the “Other.” She suggests that the experience of the Chicano is one of [...]

Franz Howanietz, a painter from Vienna who lived in Puerto Rico, comments on the exhibition of restored paintings from the collection that Federico Degetau donated to the Universidad de Puerto Rico; the exhibition opened on May 19, 1935. Howanietz, [...]

The text praises the exhibition organized by Francisco Llobet at Amigos del Arte [Friends of Art] with works by Jean-Louis Forain lend from Argentinean collections. Forain’s works are considered as real art, in comparison with those previously [...]

With the local context in mind, Padeletti writes about the criteria of originality and the problem of aesthetic contemplation. In addition, the critic points out the development of Argentinean collections, in particular those of the city of Rosario: [...]

Aldo Paparella writes to Libero Badii about the daily aspects of his stay; for example, the food, revealing how daily life allows him to elaborate aesthetic judgments. He mentions collectors' desire to have Badii's painting, by and large. Although he [...]

Kenneth Kemble wrote about Antonio Seguí’s international career to feature the international character of the new generation of Argentinean artists he belonged. In this context of acceptance by the international marketplace, the production by [...]

Kenneth Kemble writes about the exhibition at Galería Van Riel on Argentinean art over the last thirty years. Since all the artworks stem from European art, Kemble does not consider any to be exceptional. He compares the exhibition to the irreverent [...]