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  • ICAA Record ID
    796749
    TITLE
    Taller Alma Boricua: reflecting on twenty years of the Puerto Rican workshop, 1969-1989 / Marcos Dimas
    IN
    Taller Alma Boricua 1969-1989: Reflecting on Twenty Years of the Puerto Rican Workshop. – New York: El Museo del Barrio, 1990.
    DESCRIPTION
    p. 10-15 p. : ill.
    LANGUAGES
    English
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION
    Dimas, Marcos. “Taller Alma Boricua: Reflecting on Twenty Years of the Puerto Rican Workshop, 1969-1989.” In Taller Alma Boricua: Reflecting on Twenty Years of the Puerto Rican Workshop, 1969-1989. Exh. cat., New York: El Museo del Barrio, 1990.
     
    GEOGRAPHIC DESCRIPTORS
Synopsis

Marcos Dimas, an artist and cofounder of Taller Boricua [Puerto Rican Workshop], relates the early history and ideals of the Taller. The three main objectives of the artists who founded the collective were: 1) to create a forum for the artistic exploration of Puerto Rican heritage; 2) establish a graphic art workshop and studio space that produced art for the surrounding community; and 3) train and encourage young artists of all disciplines. Dimas recalls that the original founders were socially conscious and politically active. He notes that early members of Taller Boricua were inspired by an eclectic array of sources including: Taino culture, African, and Native-American art, Puerto Rican graphic art, the artist Francisco Oller (1833–1917), Surrealism, Abstract Expressionism, and objets trouvés [found objects].

Annotations

Marcos Dimas (b. 1943) is one of the founders of Taller Boricua (originally named Taller Alma Boricua), the oldest artist collective in East Harlem (also referred to as El Barrio). Written for the twentieth anniversary of the Taller, Dimas’s essay provides a firsthand account of the early history of the collective and establishes that Taller Boricua founders were active in the Art Workers Coalition and the Vietnam anti-war movement in the late 1960s. Dimas emphasizes that artists who joined Taller Boricua were committed to linking their artistic practice to social change, and discusses the conflicts and questions that artists confronted in their efforts to create meaningful art in El Barrio. Both Dimas’s essay, as well as the chronology of Taller Boricua—written by Diogenes Ballester for the twentieth anniversary catalogue—contain the most detailed information on Taller Boricua published thus far.

Researcher
Yasmin Ramirez
Credit
Courtesy of Marcos Dimas/Taller Boricua Archives, New York, NY