Documents of Latin American and Latino Art

This is a report on how artists at the CGM (Club de Grabado de Montevideo) dealt with new techniques designed for the reproduction of images. The report reviews new printing systems, such as offset, and mentions the increasing popularity of silk [...]

This article by the critic Roberto Guevara is about 1 x 9: color de la serigrafía, the exhibition of works by the artist Mercedes Pardo at the Museo de Bellas Artes in Caracas. Guevara skims through the painter’s various earlier phases, and then [...]

This text is an interview by journalist Margarita D’Amico with Venezuelan artist Mercedes Pardo on the occasion of her 1969 exhibition, 1 x 9: color de la serigrafía, held at the Museo de Bellas Artes de Caracas. In it, Pardo discusses her [...]

Venezuelan poet Ida Gramcko presents the last exhibition of the term and final exhibition of CEGRA (Centro de Enseñanza Gráfica, Caracas) [Center for Graphic Studies, Caracas]. In her text, she underscored the fundamental concept that drives [...]

María Elena Ramos introduces the exhibition of works by the fifth generation of graduates from CEGRA (Centro de Enseñanza Gráfico, in Caracas). Ramos explains that in its ten-year existence, CEGRA has graduated five generations of artists, all [...]

In this article, Juan Calzadilla introduces the exhibition of work by the second graduating class from CEGRA (Centro de Enseñanza Gráfica, in Caracas). He discusses the fundamental goals of this Venezuelan school workshop, suggesting that the [...]

In his introduction to Mercedes Pardo’s exhibition, the artist and critic Alejandro Otero discusses the range of possibilities he sees in her set of colorful mural panels. Otero suggests that Pardo’s exploration of color, based on breaking down a [...]

Álvaro Medina analyzes the work of Colombian artist Luis Paz, who “works with ideas more than with images.” Medina defines Paz’s work as Conceptual art, a category that allows him to explain what is supposedly understood by this trend in [...]

Critic Luis Fernando Valencia calls the most recent exhibition of works by Hugo Zapata, which was held at the Medellín Chamber of Commerce, “the best set of works [this artist] has ever exhibited.” Valencia praises Zapata’s work in silkscreen [...]

In this newspaper article, Mara Comerlati writes about the TAGA (Taller de Artistas Gráficos Asociados, Caracas); she discusses its origins, its reason for being, and its objectives. She also identifies its benefactors and describes how the [...]

In this text, Bélgica Rodríguez describes the creation of the Taller de Artistas Gráficos Asociados (TAGA). She explains that it was conceived as a workspace where printmakers could produce their projects. Rodríguez mentions those responsible for [...]

The French critic and historian Marianne de Tolentino, who lives in the Dominican Republic, writes about the Puerto Rican abstract painter and printmaker, Luis Hernández Cruz. During his early years, according to de Tolentino, he worked mainly with [...]

Puerto Rican art historian Margarita Fernández Zavala divides Myrna Báez’s graphic work into four parallel stylistic discourses: costumbrismo (representation of local everyday life), formalism, expressionism, and lyricism. Fernández Zavala dates [...]

Puerto Rican educator Margot Arce de Vázquez discusses the works presented by Myrna Báez in the exhibition held in her studio in 1980. In Arce de Vázquez’s view, these works, with their interesting and new pictorial language, represent a marked [...]

The 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 [...]

The Uruguayan artist Luis Solari writes to the Puerto Rican artist Lorenzo Homar to thank him for his earlier letter in which Homar wrote about his trip to Cali, Colombia, to organize a silkscreen workshop. Solari says he is happy to hear this news [...]

El artista uruguayo Luis Solari le cuenta a Lorenzo Homar que estuvo en su país donde hizo varias exposiciones y ofreció conferencias. Comenta que lo han invitado a exhibir a muchos lugares, entre ellos la Argo Gallery, de Nicosia (Chipre) y otra [...]

In this interview with Puerto Rican curator Mari Carmen Ramírez, Lorenzo Homar explains how he became interested in the silkscreen technique after working at the División de Educción de la Comunidad (DIVEDCO) and on experiments aimed at achieving [...]

In the catalogue to the exhibition Juegos de manos held at the Galería Colibrí in 1968, historian and biographer Antonio Díaz Royo discusses “sleights of hands,” the title of the show in which Puerto Rican artist Antonio Martorell exhibited [...]

Lorenzo Homar informs Ricardo Alegría, the executive director of the ICP (Instituto de Cultura Puertorriqueña), of the difficulties he is having with his weekly class in printmaking techniques and creative design at the Escuela de Artes Plásticas [...]

In 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 [...]

In this list, Lorenzo Homar provides detailed information about the personnel and equipment he would require for his printing workshop. In some cases, he offers thorough descriptions of the specific work to be performed by each printer and the [...]

Colombian artist Pedro Alcántara writes to Lorenzo Homar to confirm that the exhibition to be presented in Colombia will be titled El Cartel en Puerto Rico, Gráfica de Lorenzo Homar [The Poster in Puerto Rico: Printmaking by Lorenzo Homar]. He asks [...]

Pedro Alcántara tells Puerto Rican artist Lorenzo Homar that he has obtained passage for Homar on September 18, 1972. He informs Homar that the short silkscreen course or workshop the Puerto Rican artist will be giving will run for ten days, and [...]

In this set of three letters, Colombian artist Pedro Alcántara writes to Puerto Rican printmaker Lorenzo Homar, shortly after Homar’s departure from Cali. He tells Homar that Juan Antonio Roda, the Spanish artist who has set up his studio in [...]

Colombian artist Pedro Alcántara thanks Lorenzo Homar for the photographs, letters, and silkscreen he sent him. Alcántara asks him to buy some printing materials he will need to create a portfolio of four works for the Communist Party. The party [...]

Lorenzo Homar congratulates the Colombian artist Pedro Alcántara on the excellent lithographs donated by the latter to the Museo del Grabado Latinoamericano [Museum of Latin American Prints] at the Instituto de Cultura Puertorriqueña [ICP, Puerto [...]

The 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 [ [...]

Colombian artist Pedro Alcántara informs his Puerto Rican colleague Lorenzo Homar of the final date for the exhibition of posters and other graphic arts, entitled Homenaje a Puerto Rico. He also mentions the materials necessary for the workshop that [...]

In this letter to Colombian artist Pedro Alcántara, Puerto Rican printmaker Lorenzo Homar explains the materials that are necessary to print silkscreens in Colombia. He explains what the dryer should be like, which thinner should be purchased, and [...]

This is a letter in which Colombian Pedro Alcántara informs Puerto Rican printmaker Lorenzo Homar that the group working at the graphic workshop in Colombia places great emphasis on the planning, analysis, and theoretical study of the problems [...]

Puerto Rican critic Ernesto Ruíz de la Mata remarks that, in spite of the important role played by posters, it was not until 1964 that the Instituto de Cultura Puertorriqueña [ICP, Puerto Rican Cultural Institute] organized the first exhibition of [...]

In this interview by Puerto Rican curator Mari Carmen Ramírez, printmaker and artist Lorenzo Homar speaks of how he became interested in silkscreen; in addition to his career as a poster artist; the primary function of the poster medium; what [...]

Puerto Rican historian Teresa Tió offers a brief overview of the history of the poster in Puerto Rico, from the time it arrived on the island until 1985. She analyzes the importance of the Puerto Rican poster and how it can be used to study Puerto [...]

Norma Rosso, a Puerto Rican critic who resided in London, discusses the history of the silkscreen around the world, as well as its advent and later development on the island of Puerto Rico. In her view, silkscreen became the favored medium for a [...]

Argentine critic Rafael Squirru writes a critical review of an exhibition of posters held at the Taller de Gráfica [Graphic Art Workshop] of the Instituto de Cultura Puertorriqueña (ICP) [Institute of Puerto Rican Culture]. This workshop was led by [...]

The American critic and historian Shifra M. Goldman considers the influence that the art of the New Deal (the program introduced by President Franklin D. Roosevelt in the United States that existed from 1933 to 1938) and Mexican Social Realist art [...]

The Puerto Rican critic Ernesto Ruiz de la Mata interviews the maestro Lorenzo Homar on the occasion of the publication of Primera Colección de Grabados Editada en el Taller de Artes Graficas del Museo de Arte Moderno La Tertulia [First Collection [...]

The Puerto Rican critic and historian Teresa Tió acknowledges the importance of the Puerto Rican artist Lorenzo Homar, and discusses his evolution as a poster artist at the Taller de Gráfica del Instituto de Cultura Puertorriqueña (ICP) [ [...]