Documents of Latin American and Latino Art

In this text Gaspar Galaz writes about the prints produced by Jaime Cruz. He discusses the ones from the 1960s, which are representative of Cruz’s early work in this medium. Galaz also refers to the dominant trends in art at that time, the [...]

This article was written by Gaspar Galaz on the occasion of a retrospective exhibition of works by Claudio Bravo at the Museo Nacional de Bellas Artes in Santiago, Chile. Galaz refers to a debate about art and how it should be defined that was [...]

Gaspar Galaz writes about the Grupo de Los Diez, describing how the group began and providing some historical context. He gives a broad explanation about how the group operated and goes on to discuss the painters in the group and their works. He [...]

In his essay “Escultura chilena 1950–1973,” the critic Gaspar Galaz outlines the main criteria that influenced Chilean sculpture from 1950 to 1973. He also highlights watershed events and trends in art and identifies connections [...]

In this article, Gaspar Galaz reviews the works by the Chilean painter Mario Carreño on display at the exhibition Retrospectiva 1945–1988. In the art historian’s opinion, the exhibition does not attempt to present “a grand [...]

Milan Ivelic and Gaspar Galaz developed this questionnaire to be used in their conversations with Mario Carreño, Carmen Aldunate, Rodolfo Opazo, and Ricardo Yrarrázaval about their painting and what they were working on at that time ( [...]

In response to the objections raised by Isabel Cruz to their book La pintura en Chile desde la Colonia hasta 1981 (Painting in Chile from the Colonial Period to 1981), the authors divide their arguments into four sections. Answering Cruz’s [...]

In this brief essay Gaspar Galaz discusses a series of landmark events that took place in the 1980s and 1990s. In his opinion this period was characterized by an economic boom in Chile (fueled by neoliberal policies) and by conceptual approaches to [...]

In this article, Gaspar Galaz rates José Balmes as one of the most important painters in the Chilean art world. The writer notes the international influence Balmes brings to his local perspective and concentrates his attention on the paintings [...]

“The broadening of the critical space” represents one section of the book, Chile Arte Actual [Chile Art Today], written by the art historians, Gaspar Galaz and Milan Ivelic. In the book, the authors ask themselves why the late 1970s and [...]

As the title implies, this is the response from Milan Ivelic and Gaspar Galaz to the criticisms that appeared following the publication of their jointly written book, La pintura en Chile desde la Colonia hasta 1981 [Painting in Chile from Colonial [...]