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 art historian and critic Juan Calzadilla includes his impressions of the material shown in an exhibition space in the plaza Bolívar de Caracas, along with a set of reviews and critical texts collected under the title: La figura y el lugar, an essay subtitled: Quintana Castillo y las razones internas de un cuadro (retrospective, 1974). The critic points out certain characteristics that have been evident in artwork by the Venezuelan artist and essay writer Manuel Quintana Castillo (b. 1928) since 1954. These include the artist’s fascination with the structure of the painting as his subject, his analytical interest in the problem of space and his subordination of color to structure. Other characteristics noted are the artist’s affinity for historically avant-garde procedures (Cubism, Orphism and Futurism) and the priority he sets on process over results. According to Calzadilla, in the work Quintana Castillo is currently making, he emphasizes the symbolic value of form over the constructive/analytical elements of the work created.
The art historian and critic Juan Calzadilla (b. 1931) wrote one text included in a set of reviews and critical texts collected under the title: La figura y el lugar, un ensayo subtitulado: Quintana Castillo y las razones internas de un cuadro. Retrospective, 1974. Juan Calzadilla is one of the critics most knowledgeable about the work of Manuel Quintana Castillo (b. 1928); he was also the first critic and promotor of work by this Venezuelan visual artist and essayist starting in the 1950s. The exhibition reviewed here was organized as an homage to the painter after he won the National Visual Arts Prize in 1973. The retrospective was accompanied by a group show about which no further information has been found. As one of the few documents to report on this exhibition, Calzadilla’s comments shed significant light on the material shown on this occasion.