Documents of Latin American and Latino Art

Curator María Elena Ramos writes about the Venezuelan artist and graphic designer Patricia van Dalen, in relation to Color Fragmentado [Fragmented Color], an exhibition at the Sala Trasnocho Arte Contacto (Caracas, 2008). The text establishes an [...]

In his review of Luisa Richter’s paintings, Kurt Leonhard lists the criteria that might be used to rate a work of art, such as its originality, openness, innovative expression, and “energy for change.” Leonhard studies her work, paying [...]

Writer Eugenio Montejo introduces the graphic work of Alirio Palacios, a master whose work he deems on a level comparable to that of Armando Reverón. In Montejo’s opinion, Palacios was a major figure in Venezuelan art, especially in his treatment [...]

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 [...]

In 1901, after having studied painting in Europe, Francisco Antonio Cano returned to Colombia and resumed his work teaching painting in Medellín. His students included Luis Eduardo Vieco, who wrote these notes on Cano’s lessons, chiefly on color [...]

The critic Ferreira Gullar discusses the result of the I Exposição Neoconcreta as he reviews the works shown by Aluísio Carvão and Hélio Oiticica. He mentions the novel approach taken by both artists in their use of the exhibition space, and [...]

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 [...]

Ralph de Romero, a Puerto Rican artist born in New York, tells us about his experiences as a painter. He says his creative experience is spontaneous and that his painting becomes the tangible evidence of that experience. De Romero also notes the [...]

This essay by historian Frank Popper is written within the framework of the thirty-fifth Venice Biennale. The author’s thesis stems from the idea that an artist such as Carlos Cruz-Diez creates “situations,” which cause a series of effects that [...]

In this essay, Jean Clay reviews Fisicromías, the series of works by Carlos Cruz-Diez, and analyzes them from various perspectives. Clay discusses the evolution of the artist’s techniques, examining them through a prism of aesthetic principles. He [...]

The text reproduces the inaugural speech delivered by Vordemberge-Gildewart on October 2, 1953, for the opening of the exhibition Grupo de Artistas Modernos Argentinos [Modern Artists Group of Argentina] at the Stedelijk Museum of Amsterdam. The [...]

In this document, the art critic Jorge Romero Brest writes about the work of César Paternosto and Alejandro Puente, discussing the concepts of color and image. Romero Brest emphasizes the treatment of the irregular frames that simultaneously suggest [...]

This article includes the text of the speech given by Paul Klee as he presented his work at the Museum of Jena in 1924, in which he discussed the plastic qualities and the content of the works. Klee referred to the importance of the dimension of the [...]

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 [...]

This essay includes the text of the speech given by Paul Klee as he presented his work at the Museum of Jena in 1924. Klee explained the relationship between the colors, lines, values, and so forth, of a painting based on a comparison with an image [...]

This article analyzes the issue of superimposition as regards forms, colors, and hues. In terms of form, Rothfuss refers to three types of superimposition: total, partial, and the type that occurs when one item slides over another [...]