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.
Mexican artist Alberto Beltrán requests authorization from Lorenzo Homar to send his series of Puerto Rican prints to an exhibition in the USSR (Union of Soviet Socialist Republics). He mentions that the president of the Taller de Gráfica Popular (TGP) in Mexico is Ángel Bracho. Beltrán also informs Homar that the next edition of the Bienal Interamericana de México [Inter-American Biennial of Mexico] is being organized.
In 1958, Puerto Rican printmaker Lorenzo Homar went to Mexico City with the delegation of Puerto Rican artists who took part in the I Bienal Interamericana de Pintura y Grabado [1st Inter-American Biennial of Painting and Prints]. In Mexico City they were feted by the Taller de Gráfica Popular [People’s Print Workshop] (TGP). This was where Homar met Leopoldo Méndez, Mariana Yampolsky, Arturo García Bustos, and Beltrán himself, among others. Following this trip, Homar developed a close friendship with Beltrán (1923–2002). Homar’s archives contain a wealth of correspondence between the two men. Beltrán, who was devoted to the nationalist cause, joined the TGP in 1944. He was awarded first prize in the print category at the Primera Bienal Interamericana de Pintura y Grabado [First Inter-American Biennial of Painting and Prints]. Beltrán was the publisher of two newspapers that featured cartoons, Ahí va el golpe [Be careful!] and El Coyote Emplumado [The Feathered Coyote] as well as deputy director for graphics at the newspaper El Día.Lorenzo Homar (San Juan, 1913–2004) was a printmaker, poster artist, calligrapher, book illustrator, set and clothing designer, and mentor to a whole generation of Puerto Rican printmakers. From 1952 to 1957, he was the director of the Taller de Gráfica [Graphics Workshop] at the División de Educación de la Comunidad (DIVEDCO). In 1955, he organized the Taller de Gráfica at the Instituto de Cultura Puertorriqueña (ICP), where he remained until 1973. Later, he worked in his own studio, where he experimented with and perfected the silkscreen technique.