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.
According to professor Lydia Platón, the use of color and attention to detail are two fundamental aspects of the work of Puerto Rican printmaker Marta Pérez García. Platón discusses Pérez García’s artistic vocabulary, placing emphasis on the importance of the artist’s own body in her work, which infuses it with a sense of intimacy. Platón also mentions the role that nature and ecology play in Pérez García’s art, as well as the political commentaries that her work contains. In Platón’s view, Pérez García uses art as a vehicle to comment and reflect on—as well as participate in—Puerto Rico and everything that it entails.
This exhibition of Marta Pérez García’s work was held at the Galería Botello in San Juan, Puerto Rico, from August 19 to September 12, 1999.Marta Pérez García (Arecibo, Puerto Rico, born 1965) received degrees from Louisiana State University, Baton Rouge in 1987 and from Tyler School of Art, Philadelphia in 1993. First in 1989 and then in 1991, she was awarded prizes at the second edition of the Certamen Nacional del Museo de Arte Contemporáneo de Puerto Rico [National Competition of the Museum of Contemporary Art of Puerto Rico]. Pérez García is known for her reduction woodcuts. In this exhibition, she showed twelve drawings and two color-reduction woodcuts. In this essay, Platón discusses the works Mutilación [Mutilation] (1999), Cama matrimonial [Marital Bed], and El cerro de los mártires [The Hill of the Martyrs] (1998).