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.
The journalist Yasmín Monsalve interviews members of the Taller Huella at the exhibition they organized in November 1992 at the Sala CANTV (Compañía Anónima Nacional de Teléfonos de Venezuela). She also reports on the group’s origins and activities since it was founded twelve years earlier. Monsalve stresses the group’s teaching role and explains that it fills an important void given the lack of printmaking schools. She mentions that prints are undervalued at the Salons and, especially, in terms of the Prizes that were awarded in those days. Monsalve ends her article with a comment on the commercial side of printmaking, which has been having a negative effect.
The Venezuelan journalist Yasmín Monsalve (b. 1965) does more than review the Taller Huella’s exhibition at the Sala CANTV (Compañía Anónima Nacional de Teléfonos de Venezuela); she also discusses (1992) certain facets of the local printmaking community, such as teaching, prizes, and the market. The members of the Taller looked for places where they could work with what they had learned at CEGRA (Centro de Enseñanza Gráfica) because they wanted to experiment with materials and techniques. It should be noted that, further to what Monsalve said, the members joined forces, they inspired each other creatively, and worked on joint projects together (while each one also pursued their own work). Monsalve highlights the group’s interest in teaching, which was partly prompted by the fact that CEGRA closed down, and partly due to the fact that many artists were unaware of printmaking and its processes. The article mentions the Fondo Pérez Guerrero but provides no information about it. It should be noted that this is a fund that (since 1986) has financed joint projects in under-developed countries, with United Nations resources contributed by OPEP or by European countries.
At the time when this article was written, the Instituto Autónomo Biblioteca Nacional had begun to assemble a group of preservation specialists throughout Latin America; this group was financed by the Fondo Pérez Guerrero and included the Taller Huella as the teaching body. Their courses were taught until the mid-1990s, and many graduates continued their studies in this same area, working on the preservation of works on paper. The Taller Huella taught many printmaking courses; some of them involved the TAGA (Taller de Artes Gráficas), others were arranged through the Biblioteca Nacional; still others were held in the group’s shop, which was originally at La Castellana and then in La Trinidad. Despite all this activity, the members of the group continued to create their own works of art. The Taller set an example of the balance that should exist between teaching and creating.