Documents of Latin American and Latino Art

In this text, Oscar Niemeyer responds to criticisms that consider his architectural projects “formalist.” He clarifies that, in his view, architecture must enjoy almost boundless visual freedom in its creative content if it is to be a work of art [...]

Antonio Berni writes about developments in modern art and of formalism in art. He analyzes the artists who adhere to Nuevo Realismo [New Realism] and discusses the meaning of that movement [...]

The art critic Juan Climent thought that Rufino Tamayo’s painting was caught in the crossfire of conflicting opinions. Some thought that his œuvre represented the decadent formalism of the School of Paris, but others saw it as the dawn of a new [...]

During a visit to Poland and the USSR, Siqueiros noticed that some young artists, led by Paúl Reveyrolle, were moving from abstract or semi-abstract work to figurative art, which was clearly social and political propaganda and at the same time, anti [...]

In this interview, David Alfaro Siqueiros associates Rufino Tamayo with the formalism of the School of Paris, with the snobbish, bourgeois attitude of those who opposed political art. He acknowledges the sense of color and synthesis in Tamayo’s [...]

David Alfaro Siqueiros describes and simultaneously defines the four positions or trends in the visual arts existing in the world. He wonders if the theoretical proposals coincide with the work of art, and chooses to explain only two: the non-realism [...]