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 newspaper article (signed with the initials L. B. S.) is a review of the founding of the TAGA (Taller de Artistas Gráficos Asociados), which is described as being an extension of the 1960s printmaking movement connected to the workshop of Luisa Palacios. The article lists those who signed the founding statutes and names the members of the board who served under Honorary President Pedro Ángel González. Palacios explains that the presence of the latter represents the spiritual heritage of TAGA, and is an incentive for Venezuelan public and private institutions to contribute the above-mentioned member artists. The article outlines the goals and benefits of this graphic art space.
This is the announcement of the founding of the TAGA (Taller de Artistas Gráficos Asociados) in Caracas, with some additional details. The journalist notes correctly that this group is composed of graduates of the Taller de Luisa Palacios (1923–90) that was operating in the 1960s. The article makes it clear that Palacios was the driving force behind the project during that first phase. Pedro Ángel González was the honorary president and Elisa Elvira Zuloaga was vice president, which was also an honorary position. According to Palacios, these two iconic figures in the history of Venezuelan printmaking created the “spiritual heritage” of the movement. Palacios, Margot Romer, and Alejandro Otero, among others, managed the operation. Though the article suggests that it was born ready to operate, it should be noted that TAGA was officially founded on June 29, 1976, but did not have its own premises until January 1980.
[For more information on the TAGA, see in the ICAA digital archive by Bélgica Rodríguez “El TAGA: un sueño de verdad” (doc. no. 1068980); by Zuleiva Vivas “La Huella del grabado” (doc. no. 1101476); the newspaper articles by Mara Comerlati “El TAGA le ofrece al artista la libertad de crear” (doc. no. 1101412), “Los mejores grabados de Elisa Elvira Zuloaga” (doc. no. 1080981), and “El TAGA aspira a ser la casa del artista gráfico venezolano” (doc. no. 1081133); by Juan Calzadilla “Las pruebas materiales del TAGA” (doc. no. 1069019); and the article by Juan Carlos Palenzuela “Atelier huella” (doc. no. 1101460)].