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 essay on sculptor Marisol [Escobar], North American curator Roberta Bernstein provides a chronological description of her work, analyzing the vast majority of her creations and the different phases of her production. She describes the characteristics of each phase and the reasons Marisol created particular works. Bernstein mentions the movements and creators that influenced Marisol’s thinking and art, and assesses her ties to different contemporary tendencies around the world, among them Pop art and Cubism.
This text by Roberta Bernstein was featured in the catalogue to the Marisol Retrospective Exhibition held at a number of museums in Japan in 1995. The exhibition was the first major presentation of the sculptural work of Marisol [Escobar] (1930?2016), the Venezuelan-North American artist born in Paris. As the exhibition’s curator, Bernstein—a professor of art history—provides one of the most detailed texts ever written on Marisol’s production; she examines closely all of the phases of the artist’s work and addresses the influences, whether of a personal nature or related to social criticism, that informed her creation. This is one of the few texts that studies each of Marisol’s works individually. Without formulating an overall scheme, Bernstein analyzes all of Marisol’s creative periods on the basis of theme and use of form. She sheds light on the sociological and psychological backdrop manifested in the artist’s work. The essay looks to important sources on Marisol’s art to devise a complex critical apparatus, among them texts by Clara Diament de Sujo (“Itinerario de Marisol,” XXXIV Biennale di Venezia, 1968) [see ICAA digital archive (doc. no. 1163573)], by Leon Shulman (“Marisol,” Worcester Art Museum, 1971) and by John Loring (“Marisol Draws,” Arts Magazine, March 1975). Though essential to understanding the artist’s life and to in-depth and objective study of her work, this text by Bernstein has not been translated into Spanish.