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.
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 will be offered to fifteen students at the Instituto de Cultura Popular and the Escuela de Bellas Artes [School of Fine Arts] in Cali, Colombia. He also mentions some other details about the organization of the course, adding that the work tables, which were made to Homar’s specifications, are already in place. Alcántara emphasizes that Homar’s contribution will be invaluable to the development of the graphic arts in Colombia.
Lorenzo Homar (San Juan, 1913-2004) organized in 1957 the Taller de Gráfica [Graphics Workshop] at the Instituto de Cultura Puertorriqueña, which he directed until his resignation in 1973. Some of the foremost artists of Puerto Rican art studied printmaking techniques in this workshop. Homar inspired in them dedication and love for the art, for, as he once said: “There is no vocation without discipline, and without discipline there can be no freedom in art, or elsewhere.” Homar was one of the organizers of the First Bienal de San Juan del Grabado Latinoamericano held in 1970. He developed the technique of silkscreen and offered numerous workshops in and outside Puerto Rico.Homar met Colombian artist Pedro Alcántara (b. 1942) when the latter was in San Juan for an exhibition of his work at the Galería El Morro (Dibujos y monotipos [Drawings and Monotypes], December 4, 1970) and for the Primera Bienal de San Juan del Grabado Latinoamericano [First Latin American Print Biennial, San Juan] (1970) in which Alcántara participated. Later, Alcántara had the opportunity to work in Homar’s studio, where he first came into contact with the silkscreen technique. From that time on, they became and remained close friends. In 1972, Homar was invited by the Museo La Tertulia in Cali, Colombia, to give a class on silkscreen [printing] to a group of artists from that city. During the ten-day workshop, artists Pedro Alcántara, Enrique Grau, and Phanor León were able to print silkscreens for the portfolio that Cartón de Colombia was putting together that year. Shortly after the workshop, Alcántara, with Homar’s assistance, began working on plans to open a permanent printmaking studio. On August 23, 1974, a show featuring some of Alcántara’s graphic work from 1964 to 1974 was held at the Museo de Grabado Latinoamericano [Latin American Print Museum] of the Instituto de Cultura Puertorriqueña. Homar designed and printed the poster announcing the exhibition.