Documents of Latin American and Latino Art

At an exhibition of works being considered for the Prêmio Leirner de Arte Contemporânea at the Galeria de Arte das Folhas in 1959, the Neo-Concrete art critic and theorist Ferreira Gullar discusses the dominant features of Maria Leontina& [...]

This is Ferreira Gullar’s eulogy for his friend, the sculptor Franz Weissmann, whom he calls “one of the [Brazilian] inventors of the imagined universe.” The author remembers having met Weissmann in 1952 at Mário Pedrosa& [...]

This is the program for Amilcar de Castro, the exhibition of the artist’s metal sculptures that ran from October 14 to November 14, 1982, at the Galeria Raquel Arnaud (Babenco). The essay written by Ferreira Gullar is illustrated with Sin t& [...]

In this essay, Ferreira Gullar describes the context in which the Neo-Concrete art movement was created by artists in Rio de Janeiro. He outlines the movement’s evolution as he identifies key developments in its history, such as the series [...]

Ferreira Gullar uses his newspaper column to reply to an article that appeared in the Correio da Manhã in which Waldemar Cordeiro challenged his review of an exhibition of works by Concrete artists from São Paulo at the MAM-RJ (Museu de [...]

In this essay, Ferreira Gullar critiques the exhibition of works by São Paulo Concrete artists at the MAM-RJ (Museu de Arte Moderna de Rio de Janeiro, 1957). He also critiques Waldemar Cordeiro’s introductory essay and its assertion that [...]

In this essay, Ferreira Gullar offers a “panoramic view” of the developments and theoretical tenets of Neoconcrete art in Brazil. As in other essays [see in the ICAA digital archive “Da arte concreta à arte neoconcreta” (doc. no. 1315036)], [...]

In this essay, Ferreira Gullar articulates the position of the so-called Neoconcrete artists of Rio de Janeiro by tracing a shared history and points of divergence with the Concrete art movement. For Gullar, Concrete art begins in Brazil with the [...]

In this essay, Ferreira Gullar challenges the position taken by Rio de Janeiro’s so-called neo-Concrete artists in his account of the two movements’ shared history and disagreements. In his opinion, the genesis of Brazilian Concrete art [...]

In this essay, Ferreira Gullar states that the artist Antonio Henrique Amaral makes a radical cut into reality to show its cruelty. He points to transformations in his etchings that make more evident certain political events. In his work, symbols are [...]

Influential theorist Ferreira Gullar comments on the emergence of an art of the masses and what that implies “for the reexamination of the aesthetic concepts we use to appreciate art.” Gullar considers what the specific place of the viewer would [...]

This volume, which forms part of the Arte Brasileira Contemporânea (ABC) collection, discusses Brazilian artist Lygia Clark. It includes texts by the artist herself—indeed, the book is a sort of anthology of her writings—and by [...]

The art critic Ferreira Gullar discusses the work of the printmaker Gilvan Samico, highlighting the uniqueness of his prints. Samico’s figurative work reveals both a regional and an international vocabulary, and confirms the traditional nature of [...]

In this review, Ferreira Gullar describes the one-man show of works by Iberê Camargo at the Acervo gallery in Rio de Janeiro (1981). No invitation was issued, and no catalogue was printed for the exhibition that displayed a selection of the artist [...]

The critic Ferreira Gullar interviews the artist Ivan Serpa, who thinks that painting represents the contradictions of his contemporary world, which builds devices that are designed to destroy and others that allow mankind to float around in outer [...]

This article suggests a definition of “popular culture” that acknowledges the existence of two separate groups: one that is removed from the general population (because it is focused on questions to be addressed through art), and another that is [...]

In this essay the controversial Brazilian art theoretician Ferreira Gullar challenges the universality of the notion of an aesthetic avant-garde, as well as its relevance in underdeveloped countries. Particularly in Brazil, where the pursuit of avant [...]

This manifesto was published on the occasion of the I Exposição Neoconcreta held in Rio de Janeiro (1959). The document, which is signed by the artists who participated in the exhibition, describes the “Neo-concrete” movement as a radical [...]

Brazilian art critic Ferreira Gullar argues that the sculpture of Amilcar de Castro is related to Neo-Concretism. Ferreira Gullar asserts that de Castro’s work eschews some of the characteristics of Concrete art, among them the use of serial [...]

The art critic Ferreira Gullar discusses the concept of the “non-object,” a kind of work of art that cannot be classified as belonging to any of the traditional genres of painting or sculpture. He chronicles the gradual disappearance of the [...]

This is a critical and historical review of Concrete art, written by the poet and critic Ferreira Gullar, who sees the movement as an objective, critical response to the modern era and industrial society. Gullar makes comparisons between the ideas of [...]

In this essay, the critic Ferreira Gullar discusses his opinion of the work of Lygia Clark, which he believes is an example of how the Neo-Concrete movement was breaking with traditional ways of using the exhibition space. Ferreira Gullar construes [...]

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 is a historical balance sheet of Concrete art in Brazil. The art critic, Ferreira Gullar, introduces Concrete art as a movement of “rupture” whose radical nature contrasts with the painting that predominated in Brazil in the late 1940s [...]

According to the art and literary critic, Ferreira Gullar, the exhibition Opinião 65 is unquestionably an important event with the potential to revitalize the stagnant state of the visual arts. The fact that artists can once again express their [...]

This article reviews the works exhibited by carioca artists (from Rio de Janeiro) at the I Exposição Nacional de Arte Concreta. The poet and critic Ferreira Gullar, who lives in Rio and is the leader of the local concrete art group, discusses the [...]

In this essay, the critic Ferreira Gullar discusses the work of the Constructivist sculptor Franz Weissmann. In Gullar’s opinion, and within the context of Concrete art, sculpture offers greater scope for experimentation than painting. He discusses [...]

In this essay on the subject of painting, the renowned critic Ferreira Gullar, whose sphere of interest was poetry and the “concrete art” movement, discusses his thoughts on the latter movement. In his view, art is an autonomous reality, though [...]

When he wrote this text, the Brazilian journalist and critic Ferreira Gullar was highly positive about the participation of the artists (painters and poets) in the Iª Exposição Nacional de Arte Concreta. In the article, the writer presents a [...]

According to the poet and critic Ferreira Gullar, the essential problem concerning the “national” nature of art is directly related to the cultural dependence of the country. By way of explanation, he suggests that this question would not arise [...]