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.
In this text, curator María Elena Ramos analyzes the decade of the sixties in Venezuelan art, addressing the various movements that emerged as well as the overall political and cultural situation in the country. She mentions specific figures, exhibitions, and artists’ groups that played a central role in those years. Ramos compares the art movements that emerged in Venezuela, as the left grew stronger, to similar movements that emerged abroad. She envisions those movements as society’s response to the various wars taking place at the time.
This text by curator María Elena Ramos (b. 1947) provides a comprehensive vision of the era in Venezuela when “hot expressionisms” emerged. She cites intellectuals like Jean Baudrillard, who described Abstract Expressionism—a movement that emerged in the wake of War World II—as “hot abstraction.” In Baudrillard’s view, Abstract Expressionism was a response to both the Cold War and cold analytic abstraction. Ramos compares experiences in Europe and Venezuela, providing the reader with tools of philosophy and of history to grasp this complex period in the history of Venezuelan art. Ramos does not lose sight of the context around the world or in Latin America as a whole, considering how experiences in other countries in the region influenced movements in Venezuela.
The text “La década prodigiosa. El arte venezolano en los años ’60” (Caracas: Museo de Bellas Artes, 1995 [ICAA digital archive (doc. no. 1162487)] by researcher Federica Palomero complements this text by Ramos. The two texts were published in the same catalogue; Ramos’s provides a philosophical and sociological approach to the sixties, whereas Palomero’s is based on a notion of the period.