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 curator and gallery owner Ruth Auerbach wrote this article about the career of Alexander Apóstol in 1996. After providing a general idea of the work of the Venezuelan photographer and artist, the writer analyzes the experimental nature of his emergence in the late 1980s. These early works were based on manual manipulation of photographic material. Later in the text, Auerbach goes on to discuss an intermediate period (starting in 1994), in which he sets aside his “farm assemblages.” During this period, Apóstol’s themes turn to an ironic discourse on stereotypes of local idiosyncrasies; this includes his own domestic environment. In the curator’s opinion, the content of the artist’s most recent work has been simplified in terms of both themes and composition.
Beyond her overview of the artwork of the Venezuelan photographer and artist Alexander Apóstol (b. 1969), in this criticism, Ruth Auerbach studies the aspects that link his art to contemporary Venezuelan art. The writer, curator, and gallery owner does not just provide a reading of some of Apóstol’s representative works to analyze the artist’s line of inquiry, but she extends her analysis to art history as understood in the late twentieth century, which expands upon and backs up her critical perspective. Auerbach delves deeply into the iconography of the artist’s photographs. Instead of defining himself by this medium of expression, Apóstol calls himself “a person who makes art,” based on his installations, videos, and the films he has produced (see the interview with Silvia Martins; Caracas, September 2006). By exploring the symbols that are a structure for the artist’s discourse, this text facilitates a better understanding of his work in the context of the Venezuelan visual art.