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.
In this essay Mara Comerlati discusses Colinas, árboles y valles, the exhibition of works by José Antonio Quintero at the Sala Mendoza (Caracas, 1981). In this series of drawings and paintings inspired by his observations of the countryside in the Aragua region, Quintero highlights the connection between Earth and sky. The Venezuelan painter’s ecological position is clear in these paintings that advocate for the preservation of a part of the country that is threatened with extinction by urban development. Comerlati explains that Quintero’s involvement in a number of important biennials and exhibitions has made him a well-known figure throughout Latin America.
The journalist Mara Comerlati (b. 1952) reviews Colinas, árboles y valles, the exhibition of works by the Venezuelan painter and graphic designer José Antonio Quintero (1946?2011) at the Sala Mendoza (Caracas, 1981). She mentions several points of interest in the work of the young artist who hopes to create ecological awareness and promote the preservation of the land in its natural state. This article is important because it expresses the artist’s ideological perspective in terms of both his visual art and his socio-cultural position. The exhibition catches him at the peak of his career, and acknowledges his participation in the Bienal de Artes Visuales (Caracas) and the Bienal de São Paulo (Brazil), among other events. Quintero speaks up for the new generation of young Venezuelan artists whom, in the absence of a solid education, have blossomed and produced good work. This article helps to understand the conceptual and practical underpinnings of this little-known neo-landscape painter’s work.