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.
Álvaro Medina published a chapter about María de la Paz Jaramillo from his book, Procesos del arte en Colombia [Processes of Art in Colombia] (1978), in the Semanario Cultural [Cultural Weekly] supplement of the newspaper El Pueblo de Cali. Medina here presents highlights of the academic and professional career of the Colombian artist, beginning with the group exhibitions in which she took part when she was a student. When she was twenty-six she won first prize at the XXV Salón Nacional de Artes Visuales [XXV National Salon of Visual Arts] (1974) with her La señora Macbeth [Mrs. Macbeth]. Medina describes the formal characteristics of the work, and the artist’s use of color. In terms of Jaramillo’s apprenticeship in the art of printmaking, Medina recalls the influence in Bogotá of the Italian artist Umberto Giangrandi, who lived in Colombia, and the influence of the draftsman and printmaker Pedro Alcántara and his Cali group of fellow artists at the Taller Experimental de Artes Gráficas [Experimental Workshop for the Graphic Arts]. Medina mentions that Jaramillo is mainly interested in the subject of prostitution and the passive role that women play in a consumer society. She is interested in the sorts of jobs available to women, especially those that are seen as playing to female stereotypes.
When the Colombian critic and art historian Álvaro Medina (b. 1942) returned from New York he started writing for the newspaper Diario del Caribe (Barranquilla, 1973–77). “María de la Paz Jaramillo: Lúdica y crítica” [María de la Paz Jaramillo: Playful and Critical] was originally written as an article for the cultural supplement of the Diario del Caribe; it was subsequently published in the second edition of the magazine Arte en Colombia [Art in Colombia] (October–December 1976), and eventually included in the “Trayectorias” [Trajectories] chapter of Medina’s book Procesos del arte en Colombia [Processes of Art in Colombia] (1978)—a seminal text in the historiography of the art history of Colombia. The Colombian artist María de la Paz Jaramillo (b. 1948) completed her studies in fine arts at the Universidad de los Andes (1973), and settled in Cali the following year. When Medina published his book and this article, Jaramillo’s work was already well known in Colombia as a result of the national prizes she had won and her participation in international events. Jaramillo’s particular style was already identifiable, and she was known for her scenes of popular culture in Cali. She painted women with deformed faces and exaggerated gestures that in some cases were judged by the critics to be badly drawn. She responded by saying, “I wouldn’t call them badly drawn. I would say they were differently drawn” (El Pueblo de Cali, 4 October 1975, a newspaper that was published from 1975 through 1986). Under the guidance of the draftsman and printmaker Pedro Alcántara (b. 1942), Jaramillo learned the techniques of printmaking at the Taller Experimental de Artes Gráficas [Experimental Workshop for the Graphic Arts] at the Museo de Arte Moderno La Tertulia [La Tertulia Modern Art Museum]. She also expanded her artistic horizons by exploring Cali’s nightlife, especially the salsa dancing clubs she visited with the artists Óscar Muñoz (b. 1951), Ever Astudillo (b. 1948), and Fernell Franco (1942–2006). She and Muñoz produced the portfolio of prints, Bailando salsa [Salsa Dancing] (1978), a salute to Cali’s salsa dancers.