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 by Federica Palomero was written for Arte de América, the exhibition she curated in 1988 on the occasion of the anniversary of the founding of the Museo de Bellas Artes de Caracas. The text describes the origins of the collection of Inter-American art (a category encompassing art from Latin America, North America, Central America, and the Caribbean that was eventually divided into two groups: Latin American art and North American art). She mentions the most important artists and works in the collection, as well as major art movements and the moments when important works came into the collection. She also describes the creation of the Galería de Arte Nacional (GAN), and how pursuant to it, works by Venezuelan artists left the collection and reinforced the Latin American profile of the museum.
This text by Venezuelan curator Federica Palomero (b. 1954) provides an overview of the Latin American art collection of the Museo de Bellas Artes de Caracas and how it took shape. It mentions the origins of the collection, moments crucial to its growth, as well as the change in the collection orientation after the opening of the Galería de Arte Nacional (GAN) in Caracas in 1976. Palomero provides a historical reading of the evolution of the collection in relation to the Museo de Bellas Artes de Caracas. Founded in 1917, the museum initially received works from the Museo Nacional, also in the capital of Venezuela, founded by Antonio Guzmán Blanco in 1874 and closed in 1887. Palomero’s text demonstrates the structural evolution of a collection initially geared to inter-American art and later divided into Latin American and North American collections—a change that reflects the shifts in the regional conception of art that took place over the course of the twentieth century. She discusses the advances in Latin American art at the Museo de Bellas Artes de Caracas after 1958, in terms of the growth and research focus of the collection. This was especially true during the brief existence of the Centro de Investigación de las Artes Plásticas de América Latina (CIDAPAL), created in 1978. She also mentions the contributions made by groups such as the Sociedad de Amigos and by a number of the museum directors over the years, among them Armando Barrios, Miguel Arroyo, Marco Miliani, and Oswaldo Trejo.