The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
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 good and the bad.” After defining the terms “artistic tradition,” “avant-garde” and “avant-gardism,” the painter asserts that in Puerto Rico both traditional and avant-garde art are mere reflections of art produced in Europe and the United States. That is why, she claims, it is impossible for creators of new movements to emerge in a country undeniably subjected to colonialism, like Puerto Rico. In order to create something substantial and coherent, Báez asserts, one must focus on art to the exclusion of all else.
Myrna Báez (San Juan, b. 1931) studied at the Real Academia de Bellas Artes de San Fernando [San Fernando Royal Academy of Fine Arts] in Madrid, at the Taller de Gráfica del Instituto de Cultura Puertorriqueña [Puerto Rican Cultural Institute Print Workshop], where Lorenzo Homar was the director, and at the Graphic Arts Workshop at Pratt Institute in New York. Together with José A. Torres Martinó and other artists, she was a founding member of the Hermandad de Artistas Gráficos [Fraternity of Graphic Artists] in 1981, which was organized to protest the cultural intervention of the annexationist government that was in power at the time. In 1988, the VIII Bienal de San Juan del Grabado Latinoamericano [8th San Juan Biennial of Latin American and Caribbean Prints] honored her as a Puerto Rican artist.