Documents of Latin American and Latino Art

The country was awash in optimism that year, when Brasília was officially declared the new capital city. The tenth edition of the salão paulista de arte moderna was held at the Galería Prestes Maia, organized on this occasion by [...]

The ninth edition of the salão paulista de arte moderna (still written in lowercase letters) was held in June 1960 at the usual venue, the Galeria Prestes Maia de São Paulo. The flier carries over many elements from the previous year& [...]

These paintings by Antonio Henrique Amaral are introduced in this text by Olívio Tavares de Araújo, who calls into question the terms “realism” and/or “hyperrealism” used to describe the artist’s work. In the writer’s opinion, these [...]

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 [...]

While traveling in New York, philosopher Vilém Flusser, who had lived in Brazil for two decades, visited the studio of Brazilian artist Antonio Henrique Amaral to see his Campos de Batalha series, which consisted of the works on canvas on the banana [...]

In this letter to poet Ferreira Gullar, artist Antonio Henrique Amaral expresses the dilemma he faces about whether to continue to deal with the problems of life in New York or return to Brazil. He explains that he has grown accustomed to the [...]

Artist Antonio Henrique Amaral comments on remarks that Czech philosopher and writer Vilém Flusser made on works from Amaral’s Campos de Batalha [Battlefields] series. Amaral objects to the commentary made by Dan Stancy that Flusser quotes in his [...]

Artist Antonio Henrique Amaral comments on remarks that Czech philosopher and writer Vilém Flusser made about works from Amaral’s Campos de Batalha [Battlefields] series. Amaral objects to the commentary made by Dan Stancy that Flusser quotes in [...]