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 text, entitled “Lazo o la nueva ética,” by researcher Ruth Auerbach was featured in the catalogue for Antonio Lazo: Sentimiento, Convicción, Vivencias, an exhibition of work by Venezuelan painter Antonio Lazo (b. 1943). At the beginning of the text, Auerbach attempts to formulate the stylistic evolution of Lazo’s production as it developed from figuration and drawing to abstract painting, and from there to its current visual language. Auerbach then remarks on pivotal aesthetic, formal, and technical aspects of the work. She places emphasis on the persistence of a drawing sensibility and of figuration in production that tends to the informal and the graphic—a promising intersection in Auerbach’s view, within the highly eclectic current artistic trends.
Featured in the catalogue for the exhibition Antonio Lazo: Sentimiento, Convicción, Vivencias, this text by researcher and art critic Ruth Auerbach is one of the first to address the change, on aesthetic and formal levels, that took place in the work of Venezuelan artist Antonio Lazo (b. 1943) starting in 1987. Auerbach’s discussion of the artist’s shift from drawing to painting is extensive and clarifying; she explains how during this transformation in his work, Lazo never gave up graphic expression or figuration. The way Auerbach places Lazo’s work within the framework of Postmodernism and the Transavantgarde is interesting; she argues that despite its eclecticism, his work has an enduring “interest in discovering and examining the discourses and techniques of modernism.” This essay provides an analysis of the themes Lazo was addressing in his work from this period; it can be seen as a pioneering attempt to shed light on the new communicational codes that Lazo’s visual language was embracing. Most of the works selected for the show were from the artist’s Parisian period—works crucial to [informing his] later works “that would make Lazo a central figure in the Venezuelan art scene.”
This text is based on an interview with Lazo by Auerbach, along with researchers Zuleiva Vivas and Anita Tapias, that took place in July 1988. The catalogue includes an extensive timeline of the artist’s life and work, as well as a large number of black-and-white and color photographs in different formats.