Dino Aranda

Dino Aranda (Born June 3, 1945) is an American artist, born in Nicaragua in 1945.

Dino Aranda

Early life

Aranda was born in Managua, Nicaragua. Realizing his gift for art, his family enrolled him in Managua’s National School of Fine Arts. Mentored by Rodrigo Penalba, Director of Managua’s School of Fine Arts, Aranda was introduced to concepts of modernism and seeped in high standards of craftsmanship, which were brought to Nicaragua by Penalba from his studies at European academies. According to Penalba, Aranda distinguished himself as an artist by the strength of his paintings. His still-life paintings reveal real discipline in their use of earth tones, harmoniously accented with subtle colors. Aranda benefited from Penalba’s teachings between 1957 and 1963, receiving a certificate in Fine Arts (master’s degree equivalent) from the National School of Fine Arts in Managua, Nicaragua.

Career

Aranda is part of a group of Latin American artists who lived in New York and Washington D.C. from the 1960s through the 1980s, collaborating and contributing to the modern art scene at that time. These artists included Juan Downey, Ana Mendieta, and Benjamin Canas. Aranda co-founded Fondo del Sol, one of the first alternative, multi-cultural museums in Washington D.C., which promoted and exhibited Latino, Caribbean, and other minority artists.

Aranda illustrated two books by Ernesto Cardenal, the acclaimed Nicaraguan poet. The first is an exhibition catalog that is now a collector’s item and is in the research libraries of many museums. It is referenced as “Artist Book” in the list of Aranda’s works in Permanent Collections and is titled Ernesto Cardenal, Dino Aranda: Nicaragua, Exhibition at the Everson Museum of Art, Syracuse, New York, January 1, 1973, The second book, published by John Hopkins University Press in 1973 is titled Homage to the American Indians, by Ernesto Cardenal, translated by Monique and Carlos Altschul, and illustrated by Dino Aranda. For the book, Aranda completed a new set of paintings. They were acrylic on canvas and incorporated the symbolism of his Mesoamerican heritage to arrive at a synthesis of spiritual symbols common to the Native American cultures of all three of the Americas. Homage to the American Indians received several book reviews. One is by Seymour Merton published by Cambridge University Press.

Prior to coming to the United States to study at the Corcoran School of Art and Design in Washington, D.C., in 1965, Aranda, along with Alejandro Arostequi, Cesar Izquierdo, Leonel Vanegas, Leoncio Saenz, Luis Urbina, Orlando Sobalvarro, and Genaro Lugo, co-founded the Praxis Gallery Group. in 1963. According to a catalog titled “7 Nicaraguan Painters,” dated May 1965, Arostegui writes that the artists at Praxis searched to present a living, sincere, authentic art, without concessions or formulas, which reflect Nicaragua and its people with artistic truth and aspiration. In the same catalog, Izquierdo writes that in the Nicaraguan environment, there was no collectively defined aesthetic expression. Each artist was limited to his own understanding and interpretation of the aesthetic and intellectual practices of great civilizations and developed countries. Yet this talented group of artists belonging to Praxis, coming from a small, poor country under a brutal dictatorship, managed to formulate a middle path between abstract expressionism dominant in Buenos Aires, Rio de Janeiro, and Sao Paulo, and Mexican muralism, establishing Managua, Nicaragua as one of the leading centers in Latin American art.

For the Inauguration Exhibit at Praxis Gallery in 1963, Aranda submitted paintings that exemplified his experimentation with abstract form and heavy impasto, while, at the same time, incorporating the symbolism of his Mayan roots. He and Arostequi began to experiment with three-dimensional surfaces, and Aranda created three-dimensional works by mixing pigments, wires, and other objects. Jose Gomez-Sicre, Chief of the Visual Arts Division at the Pan American Union, attended the exhibit and was impressed with Aranda’s work. He purchased one of Aranda’s large abstracts for the Esso Standard Oil Collection. The abstract was included in the Pan American Union’s exhibition at the 1964 World’s Fair in New York and later in Berlin, where Aranda exhibited, along with Armando Morales, Fernando Botero, Omar de Leon, and Fernando de Szyszlo.

In a second exhibition at Praxis Gallery in 1963, titled Mural Poetry Exhibit, each exhibiting artist chose a poem to illustrate. Aranda chose a poem by Michele Najlis, the only poet with the courage to denounce Somoza’s dictatorship. This was the beginning of Aranda’s collaboration between the visual arts and poetry within a socio-political context. This type of collaboration found fruition in his later work with Ernesto Cardenal.

In 1965, Aranda moved to Washington, D.C. on a Ford Scholarship to study at the Corcoran School of Art and Design and to complete work for an individual show at the Organization of American States to be held in 1969. He maintained close cultural ties to Nicaragua. Aranda sent a series of figurative sketches in ink and wash on paper that he had prepared for classes at the Corcoran to Managua for an individual show held at Praxis in 1966.

Aranda’s twenty-five paintings exhibited in an individual show at the Organization of American States (OAS) in 1969, defining his early style and establishing his reputation as an artist. Influenced by Praxis aesthetics, the works reflect Nicaragua's political and socio-economic conditions during the Somoza dictatorship. Rafael Squirru, head of the Department of Cultural Affairs at the Pan Am Union, wrote that the show pointed in a new direction in Aranda’s style. After living in Washington, D.C., for a few years and returning to Nicaragua for a visit, he found the situation horrible, with dead bodies in the streets, resulting from the mistreatment of men by a brutal dictatorship. The paintings exhibited in the 1969 show depict mutilated bodies crowded into cages suspended in the air and express the fear and pain of a distant past as it appears in the present. For a photograph of Dino Aranda, the artist, taken in 1969, standing with one of his works, Boletin de artes visuales, published by Google Books to digitize and preserve books and make them universally accessible.

In 1970, the exhibit moved from the OAS to Guatemala City, where it was shown at the Vertebra Gallery and then at the University of San Carlos. For the catalog at Vertebra Group, Roberto Cabrera wrote a profound critique of Aranda’s works. As a founding teacher of Guatemala City’s Escuela Nacional de Artes Plasticas and having lived through a similar dictatorship that engulfed his country in a 36 year civil war that killed more than 200,000 Guatemalans, Cabrera understood Aranda’s work. Cabrera states that Aranda’s work reflects the expression of man in Nicaragua’s reality, where life is manifest in anthropological rawness, where beings wrap themselves in disheveled spaces to show their remains of slaughtered flesh and bone. It is an art that departs from the pure formalism of geometric abstraction and presents the other psychological face of current art, to define a realistic position based on everyday life, where instinct is more important than mathematical thought. It is a figurative art that owes nothing to the classical tradition. It originates from a Latin American essence and searches to find and reflect its images. Cabrera states that Aranda shows us an eschatological existence of death and the migration of the soul.

From there it went to El Salvador, where Benjamin Canas introduced it at the Galeria Forma in San Salvador. Finally, it debuted in Leon, Nicaragua, in a group show entitled Aranda, Arostegui, and Selva. Although part of the collection was sold to private collectors, the remaining works returned to the United States to be organized by James Harithas for a 1973 show at the Everson Museum of Art in Syracuse, New York. Aranda added landscapes of Nicaragua and incorporated the poetry of Father Ernesto Cardenal.

In 1976, the OAS organized an exhibit entitled Contemporary Printmakers of the Americas. For the exhibition, the OAS chose Aranda as the sole artist to represent Nicaragua, with an etching that had been shown at the Everson Museum, entitled Prisoners, completed in 1972.

The well-known art critic from Argentina, Marta Traba, mentioned Aranda in her book Art of Latin America, 1900-1980. She states that Aranda represents one of the new trends in Latin American Art, that of grotesque realism, similar to the works of Francis Bacon. However, Cabrera distinguished Aranda’s work from Bacon’s. The eminent Guatemalan artist Roberto Cabrera distinguished Aranda’s work from Bacon’s. He states that while Bacon’s grotesque figures are caught in a nightmare, Aranda’s figures are representative of the reality in Nicaragua. His works depict reality, not fantasy or dreams.

In November 1976, the Smithsonian organized The Art of Poetry exhibition at the National Collection of Fine Arts. This show resulted from much research and explored various approaches to the collaboration between artists and poets. The exhibition included, among others, works by Robert Motherwell, William de Kooning, Claes Oldenburg, Jasper Johns, Jim Dine, Larry Rivers, and Sam Gilliam. Of the many artists chosen, Aranda was among the only two Latin American artists represented. Aranda’s acrylic and pencil on canvas, entitled non-Mayan Mayapan, illustrated a poem by Ernesto Cardenal, who later in 2005 was nominated for the Nobel Prize in literature and was part of the series done for Homage to the American Indians. Aranda’s work for The Art of Poetry became part of the series for the book Homage to the American Indians.

Conceptualized while working on the book with Cardenal, Aranda completed a series of figurative drawings in 1977, in graphite on watercolor paper, within a landscape context. When the OAS opened the Museum of Modern Art of Latin America that year, it purchased two of these drawings to be included with the two already purchased in 1969, so they could be added to the Permanent Collection. The museum was later renamed the Art Museum of the Americas (AMA). The Smithsonian also added one of the 1977 figurative drawings to the Permanent Collection of the Smithsonian American Art Museum (SAAM).

Exploring Other Avenues of Expression

In 1973, Aranda co-founded Fondo del Sol, Washington, D.C.’s first multi-cultural museum. Founded originally to provide a workshop for a group of seven artists and writers from South, Central, and North America, the center grew into a community museum, sponsoring over 150 exhibitions of minority artists.

One of the first projects at Fondo was to compile a research directory of Latin American artists living in the United States to organize and exhibit their work. The result was Ancient Roots/New Visions an exhibition that traveled to nine cities in the United States and then to Mexico City between 1977 and 1980. The show was a milestone as it was the first exhibition of Chicano, Puerto Rican, and other Latin American artists living in the United States.

In 1979, Aranda had a two-man exhibition with Juan Downey, titled “Figure and Context” at Fondo del Sol. The show was a collaboration with Downey’s work with the Yanomami Indians in the Amazon. The collaboration influenced Aranda to expand his work of Mesoamerican images into a video.

In 1980 he co-founded Tresamericas Productions with Mary Lou Reker, producing several videos on the Latin American experience. The most extensive of these, Liberation Theology: Its Impact was shown on PBS in 1983. Copies of the video are in the artist's file at the John and Mable Ringling Museum of Art in Sarasota, Florida.

In 1992, a twenty-five-year retrospective held at Fondo del Sol exhibited fifteen of Aranda’s works, which were on loan from private collectors and permanent museum collections. The show reflected the evolution of Aranda’s thoughts, expressed visually. In earlier works, cages turned into coffins and color left. But by 1979, with the fall of the Somoza dictatorship, color began to creep back slowly. The delicately colored paintings done for the book with Ernesto Cardenal reflect Aranda’s belief that spirituality is the foundation of art throughout history and that paintings are a way of communicating a spiritual message.

Aranda first began working with images of Quetzalcoatl in 1973, when he completed the paintings to illustrate the book Homage to the American Indians. Becoming more acquainted with this pre-Colombian deity during his extensive research of Native American cosmetology, Quetzalcoatl has been a reoccurring theme in his work since. Between 1988 and 1993, Aranda completed another series of Quetzalcoatl images in acrylic on linen canvas. Many of these are in the permanent collection at Fondo del Sol. He began a third series of paintings on Quetzalcoatl, in acrylic and gold leaf on watercolor paper, wood, and linen canvas, completed in 1997.

Out of his interest in Latin American music and his research into the roots of salsa, merengue, and tango, in 1996, Aranda completed Tango in dedication to the Latin festival and the famous tango singer Carlos Gardel. With Tango, an acrylic and gold leaf on wood and canvas, Aranda explored art conservation techniques learned in 1989 when he completed a restoration and gilding certification program at Sotheby’s.

He added these techniques to those he learned long ago from Penalba at Managua’s National School of Fine Arts. Using the highest conservation standards in all his work, Aranda feels that one reason the visual arts are so important is that they document man’s history and, therefore, must be preserved.

Aranda left Washington, D.C., in 1999 in search of new images and moved to southern California. He currently lives in Sedona, Arizona, where he is completing a series of paintings and limited-edition prints.

In 2019, the National Gallery of Art, Smithsonian Institute in Washington, D.C. acquired the painting "Three Figures." It is now on display in the "Modern Art" collection.

Works in permanent collections

• National Gallery of Art, Smithsonian Institution, Washington D.C.
• Renwick Gallery, Smithsonian American Art Museum, Washington, D.C.
• The Museum of Modern Art of Latin America, (renamed Art Museum of the Americas) Organization of American States, Washington, D.C.
• The Everson Museum of Art, Syracuse, New York.
• The Museum of Contemporary Art, Managua, Nicaragua.
• The National Palace, Managua, Nicaragua.
• The Esso Standard Oil Collection, Coral Gables, Florida.
• Fondo del Sol Multicultural Museum, Washington, D.C. (renamed Museum of Culture and Heritage of America (MOCHA, Washington, D.C.)
• Museum of Cultures and American Heritage, MOCHA, Washington, D.C.
• Central Bank of Nicaragua, Managua, Nicaragua.
• John and Mable Ringling Museum of Art, Sarasota, Florida (Retrospective Artist File)
• Station Museum of Contemporary Art, Houston, Texas.
• Los Angeles County Museum of Art, LACMA, Los Angeles, California (Artist Book)
• California Institute of the Arts, CalArts, Valencia, California (Artist Book)
• Fine Arts Museum of San Francisco, San Francisco, California (Artist Book)
• Museum of Fine Arts, Houston Hirsch Library, Houston, Texas (Artist Book)
• Cleveland Museum of Art, Ingalls Library, Cleveland, Ohio (Artist Book)
• Baltimore Museum of Art Library and Archives, Baltimore, Maryland (Artist Book)
• Hirschhorn Museum, Smithsonian Institution Libraries, Washington D.C. (Artist Book)
• Metropolitan Museum of Art, Thomas J. Watson Library, New York, New York (Artist Book)
• Museum of Modern Art, MOMA, New York, New York (Artist Book)
• National Gallery of Canada Library, Ottawa, Ontario, Canada (Artist Book)
• Museum of Fine Arts, Boston, Massachusetts (Artist Book)
• University of Utah, J. Willard Marriott Library, Salt Lake City, Utah (Artist Book)
• San Francisco Public Library, San Francisco, California (Artist Book)
• Rice University, Fondren Library, Houston, Texas (Artist Book)
• University of Alberta, Edmonton, Alberta, Canada (Artist Book)
• Chicago Public Library, Harold Washington Library Center, Chicago, Illinois (Artist Book)
• Northwestern University, Evanston, Illinois (Artist Book)
• Indiana University-Purdue University, Indianapolis, Indiana (Artist Book)
• Michigan State University Libraries, Main Library, East Lansing, Michigan (Artist Book)
• Saint Bonaventure University, Friedsam Memorial Library, St. Bonaventure, New York (Artist Book)
• Bloomsburg University, Harvey A. Andruss Library, Bloomsburg, Pennsylvania (Artist Book)
• Library of Congress, Washington D.C. (Artist Book)
• University of Maryland Libraries, UMD Libraries, College Park, Maryland (Artist Book)
• Virginia Commonwealth University, VCU Libraries, Richmond, Virginia (Artist Book)
• Suny College at Purchase, Purchase College, Purchase, New York (Artist Book)

Exhibitions

Individual Shows

• 1966, Exhibition of Drawings, Praxis Galeria, Managua, Nicaragua
• 1967, Dino Aranda ’67, Cabada Art Gallery, Washington, D.C.
• 1968, Dino Aranda, Oklahoma National Bank, Norman, Oklahoma
• 1969, Dino Aranda of Nicaragua, Pan American Union, Washington, D.C.
  • Dino Aranda, Showcase Gallery, Washington, D.C.
• 1970, Dino Aranda, Galeria Vertebra, Guatemala City, Guatemala
  • Dino Aranda, University of San Carlos, San Carlos, Guatemala
  • Dino Aranda’s Open Studio, Washington, D.C.
• 1971, Dino Aranda, Galeria Forma, San Salvador, El Salvador
• 1973, Homage to Nicaragua, Everson Museum of Art, Syracuse, New York
• 1992, Dino Aranda 25 Year Retrospective, Fondo del Sol Multicultural Museum, Washington, D.C.

Group Shows

• 1963, Inauguration Exhibit, Praxis Galeria, Managua, Nicaragua
  • Mural Poetry Exhibit, illustrated the socio-political poem by Michele Najlis, the only poem denouncing the Somoza dictatorship, Praxis Galeria, Managua, Nicaragua
• 1964, Art from Central America and Panama, Pan American Union Collection, New York World’s Fair, New York, New York.
  • Latin American Art Exhibition, Pan American Union Collection, Berlin, Germany.
  • First Anniversary Exhibit, Praxis Galeria, Managua, Nicaragua
  • National Competition of El Salvador Exhibit, San Salvador, El Salvador
  • Exhibition of Painters: Arostegui, Saenz, Izguirdo, Guillen, Lugo, Venegas, Aranda, D’Leon, Praxis Gallery, Managua, Nicaragua.
• 1965, Nicaraguan Art, Rehabilitation Center of Managua, Managua, Nicaragua
  • Seven Nicaraguan Painters, Praxis Gallery, Managua, Nicaragua.
• 1966, Art Festival, Brazilian-American Cultural Institute, Washington, D.C.
• 1968, Local Artist’s Exhibit, Young Painter’s Gallery, Washington, D.C.
• 1969, Latin American Art, University of Alabama, Montgomery, Alabama
• 1971, Four Hispanic Artists, Cleveland Art Gallery, Baltimore, Maryland
• Four Nicaraguan Artists, Praxis Gallery, Managua, Nicaragua
• 1974, Nueve Pintores Nicaraguenses. Exhibit traveled to several museums in Spain
• 1976, Contemporary Printmakers in the Americas, Opening Exhibit at the Organization of American States; Exhibit traveled to museums and art centers in Florida, Tennessee, and North Carolina
  • Opening Exhibit, of the Art Museum of the Americas, Organization of American States, Washington, D.C. Works were purchased for the permanent collection
  • Hispanic American Festival, annual event organized by the District of Columbia Mayor’s Office, Washington, D.C.
  • The Art of Poetry, Exhibition at the National Collection of Fine Arts, Smithsonian Institution, Washington, D.C., November 1976 to January 1977
• 1977, Contemporary Printmakers of the Americas, Exhibition traveled to museums and art centers in Pennsylvania, Florida, Kentucky, and North Carolina
  • Ancient Roots/New Visions, opened at Fondo del Sol Multicultural Museum, Washington, D.C., and traveled to museums and art centers in Arizona and New Mexico
  • Tercer Aniversario, Galeria Tague, Managua, Nicaragua.
• 1978, Contemporary Printmakers of the Americas, Exhibition traveled to museums and art centers in Florida and Puerto Rico
  • Ancient Roots/New Visions, Exhibition traveled to museums and art centers in Texas, California, and Colorado.
  • New Acquisitions, Exhibition at the Art Museum of the Americas, Organization of American States, Washington, D.C.
• 1979, Ancient Roots/New Visions, Exhibition traveled to New York, Texas, and Illinois.
• Figures and Context, Exhibition by Dino Aranda and Juan Downey, Fondo del Sol Multicultural Museum, Washington, D.C.
• Sentidos: A Tribute to Local Hispanic Artists, Exhibition at the Mayor’s Suite, District Building, Washington, D.C.
  • Artworks of Nicaragua, Embassy of Nicaragua, Washington, D.C.
• 1980, Ancient Roots/New Visions, Exhibition traveled to Palacio de Mineria, Mexico City, Mexico.
  • We the People, 1980 Hispanic American Annual SER Conference, Washington, D.C.
• 1980 International Fine Arts Exhibit, in recognition of foreign artists living in the Greater Washington, D.C. Area, Art Barn, Washington, D.C.
  • Diplomats in the Arts, Embassy of Mexico, Washington, D.C.
  • National Hispanic Heritage Week, Exhibition celebrating proclamation by President Jimmy Carter, and sponsored by the National Endowment for the Arts, Washington, D.C.
  • Exhibit and Auction of Art Works by Local and International Artists for the Benefit of the National Literacy Campaign, Diana Brown’s Sculpture Space, Washington, D.C
• 1981, South of (and better than) Texas, Galeria Inti: Centro del Arte, Washington, D.C.
• 1984, 11 Contemporary Artists: Works on Paper, selected works from the Permanent Collection at the Art Museum of the Americas, Organization of American States, shown at the Trout Gallery, Dickerson College, Carlisli, Pennsylvania.
• 1986, 20 Latin American Artists: Works on Paper, Kurtztown University, Kurtztown, Pennsylvania.
• 1986 – Drawing – Painting – Sculpture, Fondo del Sol, Washington, D.C.
• 1988, Caribbean Rhythms, Fondo del Sol Multicultural Museum, Washington, D.C.
• 1992, Still There: Hidden Roots of America, 1492-1992, Fondo del Sol, Washington, D.C.
• 1996, Homage to Carlos Gardel, Fondo del Sol Multicultural Museum, Washington, D.C.
• 2013, 50 Year Anniversary Exhibit of Praxis Group, Nicaraguan Central Bank, Managua, Nicaragua.

Publications Discussing Works

Books

• Marta Traba, Art of Latin America: 1900-1980, John Hopkins University Press, Baltimore, Maryland, 1994.
• Mark Morgan Ford and Suzanne Brooks Snider, Central American Modernism, Capp & Bells Press & Ford Fine Art, Delray Beach, Florida, 2018.

Periodicals and Magazines

• “Fondo del Sol, the Nation’s Second Largest Spanish-speaking, and Hispanic-oriented Museum,” Nuestro Magazine, March 1985.
• Marta Traba, “Mirar en Nicaragua,” El Pez y la Serpiente, Editorial UNION de Cardoza y Cia, Ltd., Managua, Nicaragua, January 25, 1981.
• Charlotte Moser, “Hispanic Visions,” Art News, January 1979.
• Jorge Edwardo Arellano, “Boletin Nicaraguense de Bibliografia y Documentacion,” Biblioteca, Banco Central de Nicaragua, Vol. 20, 1977, Managua, Nicaragua.
• Joshua Taylor, Director, National Collection of Fine Arts, Smithsonian Institution, “Raices y Visiones,” Exposicion de Artistas Latinoamericanos en la NCFA de Washington, D.C., Ahora, Dominican Republic, 1977.
• Cambridge University Press, Vol. 31, Issue 1, July 1974, pp. 109-110. Book Review: Braves and Buffalo: Plains Indian Life in 1837. Watercolors of Alfred J. Miller with Descriptive Notes by the Artist, Introduction by Michael Bell, (Toronto: University of Toronto Press, 1973), and Homage to the American Indians. By Ernesto Cardenal. Translated by Monique and Carlos Altshul. Illustrated by Dino Aranda. (Baltimore and London: John Hopkins University Press, 1973).

Exhibition Catalogues

• Figure and Context, Two-man Exhibition by Dino Aranda and Juan Downey catalog essay by Rebecca Crumlish, Fondo del Sol Visual Art, and Media Center, Washington, D.C., 1979.
• Ancient Roots/New Visions, Catalogue Essay by Marc Zuver and Rebecca Crumlish, Fondo del Sol Multicultural Museum, Washington, D.C., Diego A. Navarette, Chairman, National Endowment for the Arts Expansion Panel, Washington, D.C., Santos Martinez, Chief Curator, Contemporary Arts Museum, Houston, Texas, and Thomas M. Messer, Director, Guggenheim Museum, New York, New York. Published by the Tucson Museum of Art, Tucson, Arizona, 1977.
• The Art of Poetry, Catalog Essay by Peter Bermingham, Curator of Education, National Collection of Fine Arts, Smithsonian Institute, Washington, D.C., 1977.
• Museum of Modern Art of Latin America, Organization of American States Catalog, Washington, D.C., 1976.
• Contemporary Printmakers, Organization of American States Catalog, Washington, D.C., 1976.
• Ernesto Cardenal-Dino Aranda, Catalog Introduction by James Harithas, Everson Museum of Art, Syracuse, New York, 1973.
• Dino Aranda, Catalog Introduction by Benjamin Canas, Forma Gallery, San Salvador, El Salvador, 1971.
• Dino Aranda, Catalog/Poster Essay by Alejandro Arostegui, Praxis Gallery, Managua, Nicaragua, 1971
• Dino Aranda, Catalog Essay by Rafael Squirru and Roberto Cabrera, University of San Carlos, San Carlos, Guatemala, 1970.
• Dino Aranda, Catalog Introduction by Jose Gomez Sicre, Pan American Union, Washington, D.C., 1969.
• Dino Aranda, Catalog Essays by Rafael Squirru, Cabada Art Gallery, Washington, D.C., 1967.
• Exhibition of Drawings by Dino Aranda,” Catalog Introduction by Jose Gomes Sicre, Praxis Gallery, Managua, Nicaragua, 1966.

Newspaper Articles

• The Art of a Life Time, Mary Lou Tousignant, Washington Post, February 29, 1996.
• Painter Depicts 25 Years of Nicaraguan Turmoil, Mary McCoy, Washington Post, June 25, 1992.
• Same Sphere, ‘Other Arts’, Hank Burchard, Washington Post, November 1988.
• ’Caribbean Rhythms’ is an Interesting Mix, Alice Thorson, Washington Times, October 20, 1988.
• Roots, Visions, Mimi Crossley, Houston Post, August 1978.
• A Dash of Latino Flash, Paul Richard, Washington Post, 1977.
• Exhibition of Painting and Poetry – Dino Aranda and Ernesto Cardenal at the Everson Museum, Marc Zuver, Diario “La Prensa,” Managua, Nicaragua, June 12, 1973
• Diversity at Everson: Vital, Exciting, Gordon F. Much, Post Standard, New York, July 12, 1973.
• Dino Aranda Exhibition in Washington, La Prensa, Managua, Nicaragua, 1969
• The Paintings of Aranda, Rafael Squirru, La Prensa, Managua, Nicaragua, 1969

Online Articles

• Washington Post, Paul Richard, A Dash of Latino Flash and Japanese Mist, August 3, 1977
• Washington Post, Marty McCoy, Painter Depicts 25 Years of Nicaraguan Turmoil, June 25, 1992
• Washington Post. Hank Burchard, Same Hemisphere, ‘Other Arts,’ November 25, 1988)
• London Daily Post, Daniel Atkinson, Artistic Currents When Dino Aranda, American/Nicaraguan-born Contemporary Artist, Came of Age, June 8, 2022
• Seeker’s Time, Irene Gonzales, Dino Aranda: Working With Praxis Galeria Nicaragua, July 1, 2022
• American Daily Post, Lauren Black, Gomez Sicre’s Contribution to Latin American Art in General, and to Dino Aranda’s Career in Particular, June 8, 2022
• The American Reporter, Richard Brown, Dino Aranda’s Individual Exhibition at The Pan American Union at Washington, D.C. In 1969, June 8, 2022
• California Herald, Amy Perry, Aranda Sends Sketches, Watercolor and Other Works From Corcoran School of Art In Washington, D.C. to Praxis Galeria in Nicaragua for Individual Exhibition, June 7, 2022
• eNews, Sherlyn Joseph, Dino Aranda, Nicaraguan-Born American Artist, Reflects on His Work With Ernesto Cardenal and Other Poets, October 1, 2022
• The Open News, Dino Aranda’s Work in Co-Founding Fondo del Sol and Tres America’s Productions, which Produced Liberation Theology: It’s Impact, Broadcast on PBS in September 1983, January 5, 2023
• Boletin de artes visuals, Issue 19, 1969, digitized by Google Books

External Links

• [http:// Official website]