Documents of Latin American and Latino Art

Painter Bertha Husband takes it for granted that Puerto Rican artist Elizam Escobar analyzes the ideas and images to be developed in his work in advance. However, it is pointless to give explanations or make judgments on the works [based on those [...]

In this essay, Puerto Rican critic Enrique García Gutiérrez discusses the nine reduction woodcuts by Marta Pérez García included in the exhibition Huellas held at Casa Candina, San Juan, Puerto Rico, in 1991. The author asserts that there is [...]

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 [...]

This anonymous article, published in Semana [Week] magazine, reports on the positive critical response to the 1957 exhibition of Puerto Rican art presented at the Riverside Museum in New York. The article also mentions several details about the event [...]

The journalist Darío Carlo writes that Julio Rosado del Valle and Carlos Raquel Rivera?two of the ten Puerto Rican artists who went to see the 1957 exhibition of Puerto Rican art at the Riverside Museum in New York?saw the exhibition as a success. [...]

According to the Puerto Rican writer René Marqués, the exhibition Arte Patriótico Puertorriqueño [Puerto Rican Patriotic Art]—presented from April 24 through May 29, 1959 at the Galería La Pintadera in San Juan—is an expression of [...]

This document is the cover of the magazine, Puerto Rico Ilustrado [Puerto Rico Illustrated], and consists of a photograph of five members of the Centro de Arte Puertorriqueño [CAP, Center for Puerto Rican Art]: Samuel Sánchez, Rafael Tufiño, [...]

In this essay on Puerto Rican artist Carlos Raquel Rivera and his career as a printmaker, critic and historian Teresa Tió speaks of his work at the División de Educación de la Comunicad (DIVEDCO) (1956–63) as an illustrator of books, designer, [...]

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 [...]

In this essay published in the 1992 exhibition catalog of Remerica! Amerika, Puerto Rican artist Enoc Perez discusses the effects of United States colonialism in the development of art in Puerto Rico. He observes that Puerto Rican artists have [...]