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Antonio Navia : el arte y la ciencia
1989Samuel Cherson, the Cuban critic living in exile in Puerto Rico, discusses the Puerto Rican artist, Antonio Navia, and his interest in mathematics, physics, and scientific contributions to modern technology that he then applies to his art. Cherson [...]ICAA Record ID: 867003 -
Myrna Báez y las técnicas del grabado
1988In this interview with Myrna Báez, fellow Puerto Rican artist Manuel García Fonteboa—who worked for Báez as a printer of silkscreens on many occasions—asks about her training in art and the methods she uses in her graphic work. Báez explains [...]ICAA Record ID: 866764 -
[Letter] 1977 Enero 11, Miramar, Puerto Rico [to] Ricardo Alegría
1977Lorenzo Homar writes to Ricardo Alegría, the director of the Instituto de Cultura Puertorriqueña [Puerto Rican Cultural Institute] (ICP), to thank him for suggesting to Zoran Krisnik that he (Homar) should take part in the Ljubljana Biennial [which [...]ICAA Record ID: 863881 -
[Letter] 1972 Noviembre 27, Miramar, Puerto Rico [to] Maritza Uribe y Gloria Restrepo
1972The printmaker Lorenzo Homar writes to the Columbians Maritza Uribe and Gloria Restrepo to thank them for returning the works that were shown in the exhibition at the Museo La Tertulia, in Cali, Colombia. He mentions that he will send them some [...]ICAA Record ID: 863747 -
Taller Homar
In this proposal, Lorenzo Homar, the director of his own workshop, and Professor Georg Fromm, the administrator, outline the basic requirements involved in the financial support of the Taller Homar [Homar Workshop]. They explain that the workshop [...]ICAA Record ID: 863727 -
[Letter] 1963 Octubre 30, México, D.F. [to] Lorenzo Homar
1963In this letter, José Antonio Torres Martinó tells Lorenzo Homar that the Mexican artist Alberto Beltrán greatly enjoyed the book that Homar had sent him, and would like to publish it in El Gallo Ilustrado, the supplement put out by El Día (a left [...]ICAA Record ID: 863651 -
[Letter] 1968 Febrero 29, Hato Rey, Puerto Rico [to] Lorenzo Homar
1968The Puerto Rican artist and critic José A. Torres Martinó writes to Lorenzo Homar to tell him that he will soon be reinstalling the mural tiles that were originally installed in 1966 in the recreation area at El Escambrón. Torres Martinó refers [...]ICAA Record ID: 863613 -
[Letter] 1968 Abril 12, Hato Rey, Puerto Rico [to] Lorenzo Homar
1968The Puerto Rican artist and critic José A. Torres Martinó writes to Lorenzo Homar to tell him that he will try to raise the necessary fundsto meet him in Europe. Torres Martinó then continues bringing Homar up to date on what their colleagues [...]ICAA Record ID: 863594 -
[Letter] 1968 Enero 30, Hato Rey, Puerto Rico [to] Lorenzo Homar
1968The Puerto Rican artist and critic José A. Torres Martinó writes to Lorenzo Homar to describe the technique that was used to remove the tiles of the mural installed in the pool area of El Escambrón (the project was undertaken in 1966), and how [...]ICAA Record ID: 863575 -
[Letter, s.l.] 1977 Marzo 16 [to] Lorenzo Homar
1977In this letter, Nitza Tufiño, the Mexican born Puerto Rican artist, and daughter of the printmaker Rafael Tufiño, tells Lorenzo Homar that the capitalist system gives artists exhibitions, biennials, and museum shows in exchange for their silence. [...]ICAA Record ID: 863556 -
[Letter] 1968 Febrero 4, Londres [to] José A. Torres Martino
1968Lorenzo Homar, who was on a yearlong European sabbatical, writes to the Puerto Rican artist and critic, José Antonio Torres Martinó, with a summary of recent events. Homar explains that the glue used for the murals at the Olympic Pool at El Escambr [...]ICAA Record ID: 863537 -
[As an artist I'm not responsible to art history]
1980In these two brief articles, Ralph de Romero, a Puerto Rican artist born in New York, states that he feels no responsibility for art history. In other words, it is the artist’s privilege to call anything he creates whatever he wants to call it. De [...]ICAA Record ID: 863062 -
[To create motion...]
1979In this paragraph, Ralph de Romero, a Puerto Rican artist born in New York, writes about the creation of movement in a defined space. He explains that his figurative painting is based on movement. Included beneath the text is a small painting, [...]ICAA Record ID: 863024 -
[Notas] 26 de abril de 1974, 27 de abril de 1976. Notas sobre el color en la pintura.
1974Ralph de Romero, a Puerto Rican artist born in New York, tells us about his experiences as a painter. He says his creative experience is spontaneous and that his painting becomes the tangible evidence of that experience. De Romero also notes the [...]ICAA Record ID: 863005 -
To Redefine ... To Reevaluate
1975In this short essay, Ralph de Romero, a Puerto Rican artist born in New York, expresses his thoughts about the differences that emerge in painting, whether as the subject of an intellectual conversation or in terms of its significance to him as a [...]ICAA Record ID: 862986 -
Bertoldo on Drawing
1975In this essay, Ralph de Romero, a Puerto Rican artist born in New York, comments on the differences between a painter and a sculptor. In his own way, he explains what drawings mean to him. Among the attributes that Romero identifies with drawings, is [...]ICAA Record ID: 862919 -
[Mi trabajo demuestra...]
1981In these short lines, written in 1981, Ralph de Romero, a Puerto Rican artist born in New York, speaks of the polarities through which his work fluctuates as it unfolds [...]ICAA Record ID: 862900 -
[My paintings cannot...]
1988In these short verses, Ralph de Romero, a Puerto Rican artist born in New York, starts out talking about what paintings seek to achieve. He goes on to state what he believes should be included in paintings [...]ICAA Record ID: 862881 -
Terra firma
1986In this poem, Ralph de Romero, a Puerto Rican artist born in New York, writes about the tierra [earth] as if it were a living being that provides us everything we need, as well as what we are. The poem begins and ends by pointing out that the earth [...]ICAA Record ID: 862862 -
Marta Pérez Garcia
1996Puerto Rican artist and critic José Antonio Torres Martinó (Ponce, Puerto Rico, born 1916) provides a brief analysis of the work of Puerto Rican artist Marta Pérez García on the occasion of her exhibition of prints at the Galería Botello in 1996 [...]ICAA Record ID: 861960 -
[Letter] 1972 Mayo 15, San Juan, Puerto Rico [to] Antonio Frasconi
1972In this letter to Uruguayan artist Antonio Frasconi, Lorenzo Homar comments on a number of topics: his resignation from the Instituto de Cultura Puertorriqueña (ICP); issues related to the Portafolio Casals and Luigi Marrozzini; and the request he [...]ICAA Record ID: 861590 -
[Letter] 1973 Diciembre 24, San Juan, Puerto Rico [to] Ricardo Alegría
1973The artist Lorenzo Homar writes to Ricardo Alegría, director of the Office of Cultural Affairs at the time, about the selection jury for the III Bienal de San Juan del Grabado Latinoamericano (1974) [Third San Juan Biennial of Latin American Graphic [...]ICAA Record ID: 861271 -
Taller de Experimentación serigráfica en el nuevo Museo del Grabado Latinoamericano
1972The printmaker Lorenzo Homar comments on the silk screen workshop he organized at the Museo del Grabado Latinoamericano [Museum of Latin American Graphic Art] for the museum’s inauguration at the time of the Segunda Bienal de San Juan del Grabado [ [...]ICAA Record ID: 860096 -
[Quiero felicitarlos por incluir las artes plasticas eb un congreso de literatura...]
Puerto Rican artist Myrna Báez congratulates the organizers of a conference on literature for having included the visual arts. She states that because art is not given due importance in education, people are not taught to distinguish between “the [...]ICAA Record ID: 857495 -
La fotografía artística
1991One hundred fifty years after the birth of photography, the Puerto Rican photographer, Héctor Méndez Caratini, writes in 1991 about art photography in New York. He notes what a different reception this work is given in New York, compared to the [...]ICAA Record ID: 856906 -
La pintura del placer o el placer de la pintura
1991The Puerto Rican artist, Antonio Martorell, wonders if there is eroticism in Puerto Rican art. The question arises after Hollister Sturges, director of the Museum of Fine Arts, Springfield, [Massachusetts,] asks Martorell if erotic art exists on the [...]ICAA Record ID: 856872 -
Solicitud de Beca Guggenheim, Proyecto de Trabajo
1970This is a draft of the text in which Puerto Rican artist Myrna Báez explains why she would like to be considered for the prestigious Guggenheim Scholarship. Báez states that she has not been able to dedicate herself fully to her painting and [...]ICAA Record ID: 856838 -
Algunas notas sobre el cartel
1978At the retrospective exhibition of his work held at the Museo de Arte de Ponce on April 13, 1978, Lorenzo Homar gave a talk entitled “Some Thoughts on Posters.” He discussed the importance of posters as a means of visual communication to the [...]ICAA Record ID: 856527 -
[Letter, 1970?] Nueva York [to] Lorenzo Homar
1971In this letter, Uruguayan artist and academic Luis Camnitzer tells printmaker Lorenzo Homar that he and the other artists at his New York Graphic Workshop had managed to get the Center for Inter-American Relations to suspend a New York exhibition of [...]ICAA Record ID: 856511 -
[Letter] 1972 Abril 25, Miramar, Puerto Rico [to] Luis Camnitzer
1972In this letter artist Lorenzo Homar replies to his colleague, Uruguayan professor Luis Camnitzer, who had suggested that some of the artists who planned to participate in the III Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial [...]ICAA Record ID: 856495 -
[Letter] 1972 Abril 16, Nueva York [to] Lorenzo Homar
1972In this letter to Puerto Rican printmaker Lorenzo Homar, Uruguayan artist and academic Luis Camnitzer proposes that, on the occasion of the III Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial of Latin American Prints], scheduled [...]ICAA Record ID: 856479 -
[Letter] 1972 Febrero 25, San Juan, Puerto Rico [to] periódico Claridad
1972In this letter sent to the Puerto Rican Socialist Party’s newspaper Claridad, printmaker Lorenzo Homar replies to an article by Puerto Rican writer Edwin Reyes. Homar attacks the position taken by Reyes—and by “Santitos,” a character who [...]ICAA Record ID: 856447 -
[Letter] 1973 Noviembre 30, San Juan, Puerto Rico [to] los artistas
1973In this open letter, Puerto Rican artists Nelson Sambolin, Lorenzo Homar, Antonio Maldonado, and Rafael Rivera Rosa state their goals in connection with the III Bienal de San Juan del Grabado Latinoamericano [3rd San Juan Biennial of Latin American [...]ICAA Record ID: 856335 -
Manifiesto
1974In this manifesto, Puerto Rican artists Antonio Martorell, Lorenzo Homar, Rafael Rivera, Juan O'Neill, Nelson Sambolín, Antonio Maldonado, and Ángel Casiano expressed their solidarity with oppressed and exploited nations that struggled to gain [...]ICAA Record ID: 856319 -
[Letter] 1987 Diciembre 19, Ciudad de México [to] Lorenzo Homar
1987In this letter from Mexican printmaker Alberto Beltrán to his friend and colleague, Puerto Rican Lorenzo Homar, the former discusses the 50th anniversary of the Taller de Gráfica Popular [TGP, People’s Print Workshop] in Mexico. Beltrán tells [...]ICAA Record ID: 856271 -
[Letter] 1996 Mayo 15, San Juan, Puerto Rico [to] Lorenzo Homar y contestaciones de Lorenzo Homar
1996Luis E. Díaz Hernández, executive director of the Instituto de Cultura Puertorriqueña [Puerto Rican Cultural Institute] (ICP), sent a letter to the artist Lorenzo Homar with a questionnaire consisting of five questions. The objective of the [...]ICAA Record ID: 856255 -
[Let Us Pray]
2000In this short poem, Ralph de Romero, a Puerto Rican artist born in New York, criticizes a Christian prayer by repeating “blah, blah, blah, blah . . . ” to show his lack of interest in either prayers or the Ten Commandments. Romero concludes his [...]ICAA Record ID: 854299 -
Definición y orientación: ¿qué somos? ¿cómo somos?
In 1929, the publishers of Índice, the Puerto Rican magazine, were curious about their contemporary countrymen, and wondered who they were and what they were like. To aid in the discussion, they posed three specific questions: 1) Do you think there [...]ICAA Record ID: 853102 -
Definición y orientación : ¿qué somos? ¿cómo somos?
1929In 1929, the publishers of Índice, the Puerto Rican magazine, were curious about their contemporary countrymen, and wondered who they were and what they were like. To aid in the discussion, they posed three specific questions: 1) Do you think there [...]ICAA Record ID: 853083 -
Definición y orientación: ¿qué somos? ¿cómo somos?
1929In 1929, the publishers of Índice, the Puerto Rican magazine, were curious about their contemporary countrymen wondering who they were and what they were like. To aid in the discussion, they posed three specific questions: 1) Do you think there is a [...]ICAA Record ID: 853064 -
Definición y orientación: ¿qué somos? ¿cómo somos?
1929In 1929, the publishers of Índice, the Puerto Rican magazine, were curious about their contemporary countrymen, and wondered who they were and what they were like. To aid in the discussion, they posed three specific questions: 1) Do you think there [...]ICAA Record ID: 852903 -
Arte, revolución y decadencia
1930The Peruvian intellectual, José Carlos Mariátegui, contends that “no todo el arte nuevo es revolucionario, ni es tampoco verdaderamente nuevo” [not all modern art is revolutionary; in fact, neither is it truly modern]. Revolutionary and [...]ICAA Record ID: 852885 -
La VII Bienal del Grabado Latinoamericano
1986The critic Samuel Cherson gives a historical account of the Bienal de San Juan del Grabado Latinoamericano y del Caribe [San Juan Biennial of Latin American and Caribbean Graphic Art]. He notes that the 7th Biennial (1986) opened 3 ½ years after [...]ICAA Record ID: 852865 -
Una Bienal que peca por defecto
1988Samuel Cherson, a Cuban living in exile in Puerto Rico, gives a brief account of the history of the Bienal de San Juan del Grabado Latinoamericano y del Caribe [San Juan Biennial of Latin American and Caribbean Graphic Art]. He concludes that the 8th [...]ICAA Record ID: 852846 -
[I have always been an artist true to my calling]
2000In this short poem, Ralph de Romero, a Puerto Rican artist born in New York, explains why he has always been an artist, never paying any attention to other people’s opinion [of him]. In the poem, de Romero explains that his dedication is documented [...]ICAA Record ID: 850581 -
[One's totality]
2000In this brief article, Ralph de Romero, a Puerto Rican artist born in New York, expresses his thoughts about the duality of life: both the physical and the spiritual. The introspective tone of the article concludes with comments about the side street [...]ICAA Record ID: 847922 -
[Letter] 1971 December 15, San Juan, Puerto Rico [to] Lorenzo Homar
1971Carlos Conde III, who at the time in question was president of the board of directors of the Instituto de Cultura Puertorriqueña [ICP, Puerto Rican Cultural Institute], answers several questions asked by the Puerto Rican artist Lorenzo Homar about [...]ICAA Record ID: 825694 -
[Letter] 1962 March 22, México D.F [to] Lorenzo Homar
1962In this letter to Puerto Rican artist Lorenzo Homar, Mexican artist Alberto Beltrán comments on the new issue of the publication, El coyote emplumado[The Plumed Coyote], which will cover topics relating to the campaign being waged by right-wing [...]ICAA Record ID: 825623 -
Some notes on why latin american artists come to New York
According to Arnold Belkin, “the Canadian son of Mexican mural painting,” the imperialist policy of the United States of America toward Latin America, as well as the prevailing climate of repression there, prompted many Latin American artists to [...]ICAA Record ID: 825608 -
[Letter] 1970 May 15, México D.F [to] Lorenzo Homar
1970In this letter, Mexican artist Albero Beltrán (1923–2002) informs Puerto Rican artist Lorenzo Homar that the course in poster design that Polish designer Wiktor Gorka was offering at the Academia de San Carlos (Mexico City) would continue until [...]ICAA Record ID: 825593