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.
This essay by the critic Roberto Guevara was published in the catalogue for the exhibition organized by the TAGA (Taller de Artistas Gráficos Asociados, Caracas) and the AVAP (Asociación Venezolana de Artistas Plásticos) in September 1980 to honor the memory of the Venezuelan artist Elisa Elvira Zuloaga (1900–80), after she passed away. In his essay, Guevara writes very poetically about the essence of Zuloaga’s work; he discusses the artist’s creative goals, and points out how her work evokes visual echoes, posits questions, and stimulates dialogue. Guevara associates Zuloaga’s artistic vision of the real world with her drawings, paintings, and prints, stating that, for her, printmaking was “an intimate passion.”
Five months after the death of the Venezuelan artist Elisa Elvira Zuloaga (1900–80), Roberto Guevara (1932–98) wrote an essay whose distinguishing feature was its poetic description of the artist’s work. In his essay, Guevara outlines his own personal view of Zuloaga’s work, which he expresses in terms of the admiration he felt for her as a woman who was ahead of her time and as a prolific painter and printmaker. He does not provide much in the way of specific details about her work, but that seems scarcely necessary given the fact that the essay was written as the introduction to the catalogue for the posthumous tribute organized in her honor by the AVAP (Asociación Venezolana de Artistas Plásticos) and the TAGA (Taller de Artistas Gráficos Asociados), both of which were in Caracas. The printmakers, painters, draftsmen, and sculptors who participated in the event were the heirs to Zuloaga’s legacy, and they paid tribute to her by exhibiting their works. Guevara’s emotional, moving reflection on the subject of Zuloaga’s contribution and importance is most fitting. His essay is an extremely personal and contemporary account that offers much insight into the artist and her work, especially her prints. He goes into some detail about Zuloaga’s relationship with printmaking, describing her hard work and intimate involvement with the process to produce works for own personal pleasure, which she shared with her students purely to teach what she herself had learned from books and from teachers abroad.