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.
Cuban journalist Florencia Báez Castro comments on “Gráfica y cartelística en nuestros días,” a roundtable on Puerto Rican art that took place in 1979 at the Centro José Martí. Puerto Rican artists Lorenzo Homar and Antonio Martorell, along with Mexican artist Adolfo Mexiac, discussed an array of topics related to graphic art. They placed particular emphasis on the poster and its development as a socially committed form of artistic expression. Homar in particular spoke about the beginnings of the poster medium and its connection to graphic arts. Martorell, meanwhile, discussed trends in Puerto Rican printmaking, as well as its techniques and methods. Martorell pointed out that printmaking on the island reflects the political situation there, specifically its status as a colony of the United States. Finally, Mexiac spoke of the close ties based on mutual learning and feedback between Puerto Rican and Mexican artists.
In 1979, Homar traveled to Havana, Cuba to participate in the Encuentro de Plástica Latinoamericana y del Caribe [Latin American and Caribbean Visual Arts Encounter], where he exchanged ideas with other artists and delivered the paper “¿Existe o puede existir un arte socialista?” [Does a Socialist Art Exist? Could it Exist?]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.