Documents of Latin American and Latino Art

The first artist to condemn the modification to the rules of the 1968 Premio Braque (promoted by the French embassy in Argentina) was Margarita Paksa. She sent a letter to the organizers, dated June 18, in which she, besides resigning her [...]

This letter of invitation to Rosario artist Graciela Carnevale from the French embassy’s office of Culture and Cooperation in Argentina, touched off a chain reaction from various vanguard artists, both from Buenos Aires and Rosario. They were [...]

León Ferrari writes to Leopoldo Maler about the London stage production of Palabras ajenas [Other People’s Words]. He discusses the polyphonic work involving the various texts in the book, and talks about the staging, the visual elements, the [...]

Pablo Suarez’s letter is defined as a work of art. It is, at the same time, a quit of his participation in the exhibition, which he handed out to the attending public at the Experiencias 1968 [The 1968 Visual Practices]. The author starts by [...]

In his role as director of the Instituto Torcuato Di Tella [Torcuato Di Tella Institute], Enrique Oteiza thanks the editorial secretary of La Nación [The Nation] newspaper of Buenos Aires for the speed with which it reported the police proceeding [...]

This document is a letter written by Enrique Oteiza, director of the Instituto Torcuato Di Tella, to the Editorial Secretary of the newspaper La Prensa [The Press Oteiza thanks the paper for the prompt reports on the police proceedings that [...]

León Ferrari writes to Leopoldo Maler about the London stage production of Palabras ajenas [Other People’s Words]. He discusses the polyphonic work involving the various texts in the book, and talks about the economic situation and the student [...]

León Ferrari writes to Leopoldo Maler about Palabras ajenas [Other People’s Words], to discuss the staging of the London production and to critique European culture. He talks about the presentation of Tucumán Arde at the Rosario and Buenos Aires [...]

This letter, signed by the regional secretary of the CGT (Confederación General del Trabajo) in Rosario and addressed to Tucumán’s CGT regional delegate, informs us about the existing tight bonds and mutual support between artists and labor-union [...]

Leopoldo Maler, the artist, writes about the London stage production of Palabras ajenas [Other People’s Words], which will use BBC radio announcers; Maler was working at the BBC at the time, and mentions that the stage version will be presented at [...]

León Ferrari writes to Leopoldo Maler about the London stage production of his book, Palabras ajenas [Other People’s Words].  He agrees to the new title of the English version, Listen Here Now, while proposing that it include the word “Vietnam [...]

This is a letter written by Raúl Miguel Sánchez, secretary general of the union representing the factory and field workers of the Aguilares Sugar Refinery in Tucumán, Argentina, addressed to the Bishop of Concepción, denouncing the destruction of [...]

Hans Haacke’s letter shows that he pondered the invitation sent by Gyorgy Kepes and decided not to represent the United States abroad for a pair of reasons: because Americans were supporting an immoral war in Vietnam and a fascist government was [...]

The letter from [Greek artist] Takis tells Pierre Restany that he has not represented Greece at any international cultural event since Greece’s democracy was suspended. Takis thanks Restany for the invitation and hopes he understands the situation [...]

Pol Bury’s letter states his decision to withdraw his participation from the 1969 São Paulo Biennial due to the fact that several Brazilian artists had informed him that another biennial, held in Bahia, was compelled to close and that paintings [...]

This is a personal letter written to the Venezuelan artist originally from Germany, Gego (Gertrud Goldschmidt, 1912–1994), from her friend, Ruth Weddle. Weddle was an editor who was Gego’s classmate at the Tamarind Lithography Workshop in San [...]

The synopsis in English are coming soon [...]

Mexican artist Alberto Beltrán thanks Lorenzo Homar for his time and attention during his visit to Puerto Rico. He tells Homar that artists Ángel Bracho and Jesús Álvarez Amaya, from the Taller de Gráfica Popular (TGP), have sent works to Puerto [...]

In this letter, Mexican artist Albero Beltrán (1923–2002) informs Puerto Rican artist Lorenzo Homar that the course in poster design that Polish designer Wiktor Gorka was offering at the Academia de San Carlos (Mexico City) would continue until [...]

The art critic sent this letter to Ernesto Deira informing him about the Instituto de Arte Latinoamericano [Latin American Art Institute], which includes the Museo Latinoamericano [Latin American Museum], for which he requests the collaboration of [...]

Aldo Paparella writes to L'bero Badii about his father's family's house in Minturno in Italy. Paparella makes comments about art and consumerist society [...]

In this letter artist Lorenzo Homar replies to his colleague, Uruguayan professor Luis Camnitzer, who had suggested that some of the artists who planned to participate in the III Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial [...]

Aldo Paparella writes to Libero Badii about formal aspects like color use, as well as comments about Western civilization. He mentions his trips both to Rome and to Formio and offers opinions about the valuation of the drawing [...]

Colombian artist Pedro Alcántara thanks his Puerto Rican colleague Lorenzo Homar for a number of gifts brought to him by Ramiro Pazmiño. One of the first things that Alcántara mentions in this letter is a problem at the Encuentro de La Habana [ [...]

In this letter Alberto Heredia declines the prize awarded him by the jury of the Certamen Nacional de Investigaciones Visuales [The National Visual Arts Resarch Competition] (Buenos Aires, Argentina). He bases his rebuttal on the discrimination [...]

In this letter to the editor of The San Juan Star newspaper, Lorenzo Homar comes to the defense of art critic Ernesto Ruiz de la Mata in the wake of the article written by the artist Rafael Rivera García, who said that Ruiz de la Mata’s columns [...]

In this letter sent to the Puerto Rican Socialist Party’s newspaper Claridad, printmaker Lorenzo Homar replies to an article by Puerto Rican writer Edwin Reyes. Homar attacks the position taken by Reyes—and by “Santitos,” a character who [...]

This letter written in English by Gego, a Venezuelan artist of German origin, is addressed to Mr. James Harithas, director of the Everson Museum of Art, Syracuse, New York. Dated July 21, 1972, the letter states that despite her enthusiasm, Gego must [...]

Colombian artist Pedro Alcántara informs his Puerto Rican colleague Lorenzo Homar of the final date for the exhibition of posters and other graphic arts, entitled Homenaje a Puerto Rico. He also mentions the materials necessary for the workshop that [...]

In this letter to Uruguayan artist Antonio Frasconi, Lorenzo Homar comments on a number of topics: his resignation from the Instituto de Cultura Puertorriqueña (ICP); issues related to the Portafolio Casals and Luigi Marrozzini; and the request he [...]

Aldo Paparella writes to Libero Badii with his opinions about classic art, about the ancient sculptures he observed in Europe, in particular Etruscan culture [...]

This is a letter from Colombian artist Pedro Alcántara to Cuban painter Mariano Rodríguez, in which the former warns the latter that the painter Carlos Granada—who represented Colombia at the Encuentro de Plástica Latinoamericana [Latin American [...]

The printmaker Lorenzo Homar writes to the Columbians Maritza Uribe and Gloria Restrepo to thank them for returning the works that were shown in the exhibition at the Museo La Tertulia, in Cali, Colombia. He mentions that he will send them some [...]

Aldo Paparella writes to Libero Badii from Europe about his humanitarian feelings about reality. In addition, he mentions economic matters [...]

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 [...]

A general announcement in which Margarita Paksa issues an invitation to take part in the Tribute to Che Guevara, explaining that folders will be published, called La América del Che [The America of Che], containing the work of some forty artists. [...]

Aldo Paparella writes to Libero Badii about the family's economic problems, mentioning their trips through Europe and commenting to him about ancient art, emphasizing sculpture with a pronounced archaism. He mentions his future exhibition and [...]

The artist Lorenzo Homar writes to Ricardo Alegría, director of the Office of Cultural Affairs at the time, about the selection jury for the III Bienal de San Juan del Grabado Latinoamericano (1974) [Third San Juan Biennial of Latin American Graphic [...]

Colombian artist Pedro Alcántara thanks Lorenzo Homar for the photographs, letters, and silkscreen he sent him. Alcántara asks him to buy some printing materials he will need to create a portfolio of four works for the Communist Party. The party [...]

This is a letter from Mr. Ramón Huidobro, the Chilean ambassador to Buenos Aires, , to Antonio Berni, the Argentine artist, to thank him for his donation of a work of art to the Museo de la Solidaridad. The letter was accompanied by a catalogue of [...]

Colombian artist Pedro Alcántara informs his Puerto Rican colleague Lorenzo Homar that the Colombian company Carvajal y Compañía had committed to donating funds for the construction of a printmaking studio. Alcántara asks Homar to help him put [...]

Lorenzo Homar informs Ricardo Alegría, the executive director of the ICP (Instituto de Cultura Puertorriqueña), of the difficulties he is having with his weekly class in printmaking techniques and creative design at the Escuela de Artes Plásticas [...]

In a letter to his Puerto Rican colleague Lorenzo Homar, Colombian artist Pedro Alcántara expresses his outrage at the death of Chilean President Salvador Allende during the attack on the Palacio de La Moneda by military forces staging a coup d'é [...]

Aldo Paparella writes to Libero Badii about the people who have visited him and mentions Argentinean sculptor Alberto Heredia. Paparella sends the normal end-of-year greetings [...]

Aldo Paparella writes to Libero Badii about his conception of drawing, understood as a medium that supports the artwork. For him, the real problems of artistic production can be duly understood through drawing. Paparella maintains he feels drawing as [...]

This letter written by Gego in English is addressed to Mrs. Sandra Trop Blumberg, executive director of the Everson Museum of Art, Syracuse, New York. In it, Gego acknowledges receipt of Blumberg’s letter, dated July 3, and informs her that she [...]

In this letter, Colombian printmaker Pedro Alcántara comments to Lorenzo Homar on the details of his trip to Puerto Rico for an exhibition of his work at the Instituto de Cultura Puertorriqueña [Institute of Puerto Rican Culture] (ICP). Alcántara [...]

Aldo Paparella writes to Libero Badii saying that one can communicate deeply from absolute silence. Paparella questions himself about the artist’s role, concluding that he should not only make artwork, but also provide answers about what he is [...]

Quela Rovira, an Uruguayan artist, informs Lorenzo Homar about the shipping of the posters that had been exhibited. She sends her regrets about the events that occurred in Uruguay just after the exhibition, since they worsened the sale prospects for [...]

This document was written under the letterhead “Tres” [Three], yet signed by artists Carmen Lomas Garza, Amado Maurilio Peña, and César Augusto Martinez. The authors outline their reasons for resigning from the collective Con Safo [sometimes [...]