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.
Juan Calzadilla describes a visit to the Venezuelan artist Mary Brandt’s studio in 1972, during her one-woman show at the Sala Mendoza in Caracas. The critic discusses her technique, her use of color and form, and her canvases, slashed to reveal the frame. Calzadilla provides some context and explains that Brandt’s work is extremely personal and uninvolved with any of the contemporary movements or avant-gardes.
The article that the Venezuelan critic and draftsman Juan Calzadilla (b. 1931) wrote about visiting Mary Brandt (1917–85) in her studio provides a firsthand report on what she was doing in the 1970s. In comparing her work to the work of her contemporaries in Venezuela, Calzadilla provides a broad overview of what was going on in the visual art world in those days. In his review he recalls a 1972 interview, also in Brandt’s studio, and picks it up again in 1995 when he writes the final version of the document in question. It is a calm, reasoned article whose view of the artist, who died in 1985, has mellowed with time and distance. The critic records what Brandt said and thought, and acknowledges her creative power, having seen it firsthand.