Documents of Latin American and Latino Art

In this essay, Puerto Rican critic Enrique García Gutiérrez discusses the nine reduction woodcuts by Marta Pérez García included in the exhibition Huellas held at Casa Candina, San Juan, Puerto Rico, in 1991. The author asserts that there is [...]

Journalist Juan Luis Márquez reports that fellow Puerto Ricans José Antonio Torres Martinó, Lorenzo Homar, Rafael Tufiño, Julio Rosado del Valle, and Félix Rodríguez Báez have organized the Centro de Arte Puertorriqueño (CAP) in order to [...]

The photographer Samuel Santiago includes several brief reviews of the eleven exhibitions he has organized at the Galería Pintadera. He thanks those who generously provided assistance, especially the media for their coverage, and the artists from [...]

Police Lieutenant José Nevárez Aquedo reports that on page five of the October 4, 1965 edition of El Mundo newspaper, a full page advertisement appeared, the title of which was “Puerto Rico llama a la conciencia de los Estados Unidos y del Mundo [...]

[This document provides] confidential information written by José Meléndez, a police sergeant with the Puerto Rican Intelligence Office, naming those who had attended a meeting chaired by Juan Mari Bras, the president of the Movimiento Pro [...]

Distinguished Puerto Rican writer René Marqués discusses recent prints by Rafael Tufiño, which he finds less aggressive and dramatic and more sentimental and nostalgic than Tufiño’s earlier work. Marqués begins by describing the first phase of [...]

In 1963, a group exhibition of Puerto Rican graphic art was organized under the title: Exposición Colectiva de Grabados Puertorriqueños: Pequeña Retrospectiva [Small Retrospective]. Regarding the exhibition, the Italian art buyer Luigi Marrozzini [...]

This timeline tracks the life of Puerto Rican artist Rafael Tufiño, who lived in New York and in Mexico City. Puerto Rican intellectuals Manuel Cárdenas Ruiz and Eugenio Fernández Méndez review the graphic work produced by Tufiño between the [...]

This issue of the magazine Pigmento, published by Samuel A. Santiago and Laura Sanabria, is dedicated to the work of Puerto Rican artist Rafael Tufiño. The essay written by Sanabria includes biographical information about the artist’s birth in [...]

This anonymous article, published in Semana [Week] magazine, reports on the positive critical response to the 1957 exhibition of Puerto Rican art presented at the Riverside Museum in New York. The article also mentions several details about the event [...]

In this article, the journalist, Malén Rojas Daporta, tells how the Puerto Rican artists, Lorenzo Homar and Rafael Tufiño, created a graphic art portfolio in 1955. Their portfolio was centered on (a form of Puerto Rican popular music called) the [...]

This document is the cover of the magazine, Puerto Rico Ilustrado [Puerto Rico Illustrated], and consists of a photograph of five members of the Centro de Arte Puertorriqueño [CAP, Center for Puerto Rican Art]: Samuel Sánchez, Rafael Tufiño, [...]

The Centro de Arte Puertorriqueño sponsored the second painting exhibition in the Plaza de Armas in Old San Juan in 1952. The jury was composed of Irene Delano, Fernando Monserrate, and Father Marcolino Maas, and first prize was given to Rafael Tufi [...]

This essay, written by curator Susana Torruella Leval, provides a biographical overview of the careers of mural artist, Nitza Tufiño, and her father, Rafael Tufiño—a renowned Puerto Rican painter and printmaker. Leval describes the relationship [...]

Puerto Rican historian and curator Marimar Benítez discusses the importance of the print—particularly of the linoleum variety—to artists of the 1950s. Social commentary, condemnation of living conditions among Puerto Ricans, and criticism of the [...]

This essay by Puerto Rican historian Teresa Tío discusses the historical development of graphic portfolios in Puerto Rico between the 1950s and the 1990s. The essayist’s thesis is based on the fact that Puerto Rico has a long tradition of creating [...]

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 [...]

Curator Isabel Nazario compares the emergence of independent Puerto Rican printmaking collectives in New York during the 1970s to the government sponsored graphic art workshops that were instituted in Puerto Rico in the 1950s. She notes that Puerto [...]

Arlene Alvarez claims that the visual arts had a strong impact on rural Puerto Rican communities during the 1940s and 1950s. She notes that artists and social workers traveled to rural areas to introduce farmers to modern modes of health care, [...]

In this essay published in the 1992 exhibition catalog of Remerica! Amerika, Puerto Rican artist Enoc Perez discusses the effects of United States colonialism in the development of art in Puerto Rico. He observes that Puerto Rican artists have [...]