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.
Critic Juan Calzadilla wrote this text on Venezuelan artist Braulio Salazar on the fiftieth anniversary of his first solo show. That exhibition, Calzadilla explains, took place at a moment when Salazar’s efforts as an artist and as an educator were focused on his native Valencia in the state of Carabobo. Calzadilla connects Salazar’s training, studies, travels, and influences, and describes his commitment to pursuing his work as an artist from that city. Though Salazar’s work has gone through phases connected to different tendencies, his concerns—Calzadilla argues—are highly personal and, as such, his work “goes beyond any school.”
This text by Venezuelan critic and draftsman Juan Calzadilla (b. 1931) on Braulio Salazar (1917?2008) sheds light on the artist’s training and career, from his first solo show, held at the Botillería “La Tropical” in Valencia in 1935, to his work from the sixties. This overview evidences how hard it is to pin the artist to a specific movement. Calzadilla envisions that first show as an important springboard for the career of someone committed to staying connected to his roots at a time when many artists moved to Caracas to attend the Academia de Bellas Artes and went on to study in Mexico, Spain, or France. Calzadilla also points out that Salazar was born during the harsh dictatorship of General Juan Vicente Gómez (in power from 1908?35), who stifled the development of the arts in Venezuela by encouraging an isolationism that made it impossible to find out what was going on outside the country. Salazar’s first show was held the year the dictator died, which meant that it helped open doors for Venezuelan artists. The text provides a global vision of Salazar’s work as an educator as well as an artist.