Documents of Latin American and Latino Art

The communiqué signed by Carlos Fossatti (an active member of the Club de Grabado de Montevideo) outlines several suggestions for arriving at a consensus as regards the objectives of the group’s artistic activities, which he describes as being [...]

The report published in 1956 by the CGM (Club de Grabado de Montevideo) provides information on the institution’s objectives. In the group’s opinion, prints can be used to reach a range of different audiences and address a broad spectrum of [...]

The deterioration of the site occupied by the Taller Libre de Arte (TLA) [(in Caracas)] was evident in this [March 4, 1967] news item. The news piece reported on an order to repair the sanitary facilities and electrical system of the workshop and the [...]

In this essay, Juan Acevedo outlines the guidelines he has developed and used at his workshops focused on the creation of comic strips as a popular medium of communication, in particular at the Taller de Historieta del Taller de Publicaciones [Comic [...]

After visiting the ENBA sculpture studios in Lima, the author comments on works by Coello and Pozo, and mentions the sculptress Carmen Saco. He then interviews Manuel Piqueras Cotolí, the architect from Madrid, in whose studio he examines two works [...]

In this essay the Peruvian cartoonist Juan Acevedo discusses his personal experiences with his workshop participants—most of whom were young fighters with the Sandinista insurgency—noting the similarities between what they do and what a [...]

This letter was written by the Puerto Rican printmaker Lorenzo Homar in San Juan, Puerto Rico on January 12, 1977, to the Colombian artists Pedro Alcántara Herrán and Virginia Amaya Valdivieso. Homar begins his letter on a friendly note, [...]

In this brief article, the critic Jayme Maurício outlines the history of the Atelier de Gravura em Metal, the workshop at the MAM-RJ (Museu de Arte Moderna do Rio de Janeiro). This involved a process that began in 1955 with the ambitious project [...]

This essay by the historian Juan Carlos Palenzuela appeared in the catalogue for the Taller Huella exhibition held at the Venezuelan Embassy in Paris in 1995. Palenzuela briefly describes the pieces submitted by participating artists, whose work is [...]

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 [...]

This text by Venezuelan writer María Fernanda Palacios offers perspective on the development of engraving in Venezuela in the 1960s in light of the activity of El Taller de Luisa Palacios, who was her mother. She relates the beginnings of the [...]

Bernardo Hogan, an Argentine artist and husband and collaborator of the ceramicist Susana Espinosa, relates his experience of working in the ceramics studio he shares with his wife and his assistant, Isabel Rivera. Hogan tells how in 1980, they [...]

In this letter, the Puerto Rican graphic artist, Lorenzo Homar, writes about developing the first portfolio and the objectives of the Taller Experimental de Artes Gráficas [Experimental Graphic Arts Workshop] at the Museo de Arte Moderno La Tertulia [...]

This is the introduction to the first portfolio, published to commemorate the first anniversary of the Centro de Arte Puertorriqueño [Puerto Rican Art Center] (CAP) that was established in 1950 in San Juan. The essay describes the goals and [...]

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 [...]

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 [...]

The 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 [...]

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 [...]

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 [...]

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 [ [...]

At 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 [...]

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 [...]

Colombian artist Pedro Alcántara informs Puerto Rican artist Lorenzo Homar that the studio at the Museo [La Tertulia] no longer exists, and therefore its collective, the Taller Gráfico [Graphic Workshop], is operating on the basis of “ongoing [...]

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 [...]

In this historical overview, artist José A. Torres Martinó describes how he and fellow Puerto Rican artist Félix Rodríguez Báez opened a studio called Estudio 17 in the late-1940s. Other artists joined their efforts and together they founded the [...]

Puerto Rican historian and curator Flavia Marichal Lugo offers an overview of the history of the woodcut in Puerto Rico. She explains that the medium took hold on the island in 1950 and its influence continually grew from then on thanks to the [...]

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 [...]

In this text, North American educator Fred Wale and his Puerto Rican counterpart Carmen Isales present an extensive report on the community development project, which began in 1949 under the administration of Luis Muñoz Marín (1949–65). This [...]

In this brief letter, David Alfaro Siqueiros advises Jackson Pollock and his team that the studio in New York will be closed during the day while he prepares for his forthcoming exhibition in Manhattan. Siqueiros explains that he needs to be alone to [...]