Documents of Latin American and Latino Art

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

In this short essay, Víctor Vasarely recalls the beginning of his collaboration with architects, which began in 1952, when he met Venezuelan architect Carlos Raul Villanueva in Paris through Sofia Imber. [Villanueva] invited him to participate in [...]

In this essay, the critic Juan Calzadilla discusses the exploration of Informalist abstract movements by Venezuelan artist Elsa Gramcko, who was in search of new “textures” with which to express her ideas in physical form. Calzadilla describes [...]

Journalist Carlos Díaz Sosa interviewed Luis Chacón on his exhibition of prints at the Ateneo in Caracas. Chacón explains that he has recently decided to produce single-edition prints—he calls them “print-objects”—that pursue a kinetic [...]

In this brief article, the artist Sérvulo Esmeraldo explains his works, which he calls “Excitáveis” [Excitables], describing them as “paintings that appear to be static” but that in fact are like natural phenomena in which everything is in [...]

The art critic Olívio Tavares Araújo claims to see certain parallels and similarities between Sérvulo Esmeraldo’s “object-poems” and the kinetic works known as “Excitáveis” [Excitables] that the Brazilian artist was producing in the [...]

The Brazilian artist based in France at the time, Sérvulo Esmeraldo, introduces his well-known series, “Excitáveis.” The text includes practical step-by-step instructions explaining the functioning of these works, the artist’s methodical [...]

The Brazilian artist Sérvulo Esmeraldo describes his interest in the phenomena of physics. He recalls some experiences in his childhood in northeast Brazil (Ceará), when he and his brothers turned ampoules into powerful lenses which they then used [...]

This text by writer Guillermo Meneses is divided into three parts. The first discusses the characteristics of Jesús Rafael Soto’s work, his exceptional skill and talent as an artist, and his perseverance, which allowed him to overcome a number of [...]

This text by British critic Guy Brett analyzes Latin American art movements of the fifties and sixties, specifically Kinetic art, Op art, and Concretism. Brett argues that those movements formulated a radical change on the level of theory and of [...]

Kenneth Kemble mentions the Museo Etnográfico, because of an exhibition of primitive Latin American art at the Wildenstein Gallery. He emphasizes the formalist values of the Araucanian carvings and the ceramics. Moreover, he reviews the Spanish [...]