Documents of Latin American and Latino Art

El artista uruguayo Luis Solari le cuenta a Lorenzo Homar que estuvo en su país donde hizo varias exposiciones y ofreció conferencias. Comenta que lo han invitado a exhibir a muchos lugares, entre ellos la Argo Gallery, de Nicosia (Chipre) y otra [...]

Lorenzo Homar states that Puerto Rican artists were never informed that the IV Bienal de San Juan del Grabado Latinoamericano [IV Latin American Print Biennial, San Juan] would be financed with funds from the American Revolution Bicentennial [...]

Puerto Rican critic Ernesto Ruiz de la Mata comments that after the II Bienal de San Juan del Grabado Latinoamericano [2nd San Juan Biennial of Latin American Graphic Art] was inaugurated, many people forgot about the marginal activities that made [...]

In this catalogue essay, Victor Alejandro Sorell considers the 36-year career (spanning 1964–2000) of the Chicano artist Carlos Cortez, praising him as the “quintessential artist-reporter,” and emphasizing his virtuosity as a master printmaker [...]

Argentine critic Rafael Squirru writes a critical review of an exhibition of posters held at the Taller de Gráfica [Graphic Art Workshop] of the Instituto de Cultura Puertorriqueña (ICP) [Institute of Puerto Rican Culture]. This workshop was led by [...]

In 1963, a group exhibition of Puerto Rican graphic art was organized under the title: Exposición Colectiva de Grabados Puertorriqueños: Pequeña Retrospectiva [Small Retrospective]. Regarding the exhibition, the Italian art buyer Luigi Marrozzini [...]

Written in 1966 on the occasion of the exhibition of prints by Puerto Rican artist José R. Alicea, this introduction by Luigi Marrozzini—an Italian art dealer who lived in Puerto Rico and directed the Galería Colibrí—places emphasis on Alicea [...]

This essay, by the Puerto Rican writer and university professor Eugenio Fernández Méndez, sketches the life story of the Puerto Rican artist José R. Alicea on the occasion of the tribute exhibition in his honor at the IV Bienal de San Juan del [...]

In 1973, Andrew Stasik, director of the Pratt Graphic Center, assembled a collection of Puerto Rican prints later acquired by the Exxon Corporation, which also sponsored an exhibition of the collection that traveled to major cities in the United [...]

The Puerto Rican curator and critic Mercedes Trelles explains that the Puerto Rican artist José R. Alicea favors representing texts by Puerto Rican writers in a variety of media within a portfolio. This essay points out that after a forty-year [...]

The critic Samuel Cherson gives a historical account of the Bienal de San Juan del Grabado Latinoamericano y del Caribe [San Juan Biennial of Latin American and Caribbean Graphic Art]. He notes that the 7th Biennial (1986) opened 3 ½ years after [...]

In this essay, Samuel Cherson, a Cuban critic living in exile in Puerto Rico, discusses the exhibition organized by the Hermandad de Artistas Gráficos [Graphic Artists Association] featuring the artists who refrained from participating in the Quinta [...]

Artist and essayist Félix Bonilla Norat comments on the visit of the Uruguayan printmaker, Antonio Frasconi, who would be exhibiting his works at the La Casa del Libro [House of the Book] and at the Museo del Grabado [Museum of Graphic Art]. The [...]

“The Artists Respond: Art, Culture, Politics” is a transcript of artists’ responses to questions posed by Juan Sánchez, curator of the exhibition The Puerto Rican Equation: Puerto Rican Artists Ponder 100 Years Since the 1898 Invasion. Among [...]

This document is a proposal for The Puerto Rican Equation, an exhibition to commemorate the 1898 invasion of Puerto Rico by the United States, and which would feature Puerto Rican artists who were born and lived in either Puerto Rico or the United [...]

Puerto Rican historian and curator Marimar Benítez discusses the importance of the print—particularly of the linoleum variety—to artists of the 1950s. Social commentary, condemnation of living conditions among Puerto Ricans, and criticism of the [...]