Documents of 20th-century Latin American and Latino Art

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Synopsis

In this interview with Myrna Báez, fellow Puerto Rican artist Manuel García Fonteboa—who worked for Báez as a printer of silkscreens on many occasions—asks about her training in art and the methods she uses in her graphic work. Báez explains how collagraphs are made, as well as her preference for that technique over silkscreen and etching. She also discusses her experiments in silkscreen and how she manipulates that technique to obtain results similar to collagraphs. In the interview, García Fonteboa and Báez also discuss the use of photoengraving and photo silkscreening. One of the key points in Báez’s approach is the notion that “ideas cannot be transferred from one technique to another since that almost always results in the reproduction of another intention.” In closing, Báez states that “every medium should have its own personality.”

Annotations

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.

Researcher
Flavia Marichal Lugo.
Team
Museo de Historia, Antropología y Arte, Universidad de Puerto Rico, San Juan, Puerto Rico