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This article, by the journalist Mara Comerlati, is about the TAGA (Taller de Artistas Gráficos Asociados, Caracas). It was written after the Ministry of Urban Development announced its plans to build new premises for the TAGA in the vicinity of the GAN (Galería de Arte Nacional). The project was to be designed by the architect Oscar Tenreiro. Comerlati interviews the Venezuelan printmaker Luisa Palacios, who reports on the organizational structure of the place, the acquisition of presses and instruments, the group’s generous supporters, the TAGA’s operational mechanisms, and its members’ benefits and commitments.
In 1978 the Ministry of Urban Development agreed to build a facility for the TAGA (Taller de Artistas Gráficos Asociados); the following information is taken from the article written by the journalist Mara Comerlati (b. 1952). The TAGA association of graphic artists had been at a standstill because they had no premises of their own. Hence the hope and optimism expressed in this interview with the Venezuelan printmaker Luisa Palacios (1923–90), TAGA’s director and main booster. It should be mentioned that the promised facility was to be part of the proposed museum complex that would house the GAN (Galería de Arte Nacional) which had been operating on a temporary basis at the old premises of the Museo de Bellas Artes de Caracas since 1976. The architect Oscar Tenreiro’s project was submitted in 1977, and the building was to be constructed between the Caño Amarillo and El Calvario sectors in Caracas. The TAGA premises were to be located next door to the museum complex, and were to be completed by April 1979. For a number of different reasons, however, neither project was ever built. The TAGA would obviously have to find other premises, but that didn’t happen until 1980, when a home was finally found for the group in an old house in the Los Rosales development belonging to the Zuloaga family, where the association is still ensconced. This explains why the TAGA has, from its earliest days, been closely involved with the founding members of the Venezuelan graphic arts, Luisa Zuloaga de Palacios and Elisa Elvira Zuloaga.
Regarding the TAGA, see the critical essay by Bélgica Rodríguez “El TAGA: un sueño de verdad” [doc. no. 1068980]; see also two other newspaper articles by Comerlati: “El TAGA le ofrece al artista la libertad de crear” [doc. no. 1101412], and “Al reencuentro de Pedro Ángel González a través de sus grabados” [doc. no. 1164576]; and by Zuleiva Vivas “La huella del grabado” [doc. no. 1101476].