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 about the work of the sculptress Marisol, the gallery owner Clara Diament de Sujo provides a brief biographical sketch of the artist’s childhood and youth, and a list of the group exhibitions in which she has participated. She mentions some of Marisol’s most important works, including those she has exhibited at international biennials and exhibitions, noting in particular her earliest sculptures and her iconographic phase. The author describes Marisol’s introduction into the New York art world, her first group exhibitions and, later, her one-woman shows. Diament de Sujo also refers to Marisol’s association with Andy Warhol and the pictorial influence of Pablo Picasso and Marcel Duchamp.
This essay by the well-known Argentinean-Venezuelan gallery owner Clara Diament de Sujo appeared in the catalogue that was produced when the sculptress Marisol [Escobar] (1930?2016) represented Venezuela at the XXXIV Biennale di Venezia (1968). It was—together with the article written by José Ramón Medina (the “Introduction” to the catalogue Marisol [Caracas: Armitano, 1968])—one of the first pieces written in Spanish about the work of this Paris-born Venezuelan-North American sculptress, who was well-known in the United States but not in Venezuela. Diament de Sujo provides a complete review of the life and work of this visual artist. Though it is not a biography in the strictest sense of the word, it is nonetheless a pleasant read, a simple account of Marisol’s evolution as an artist.
It is certainly the first essay about Marisol written for the Venezuelan public. According to Diament de Sujo, her goal was to motivate the reader to learn about Marisol’s work, and to appreciate and enjoy it. She hopes her essay will introduce Marisol to an audience that does not know her or her work. Diament de Sujo understands that seeing Marisol could be an unprecedented experience, and that appreciating her work requires a fresh perspective. The essay therefore seeks to encourage a particular reading of her work. Diament de Sujo underscores Marisol’s unquestionable contribution to the development of Pop-Art, noting that her best works are from 1962 and highlighting the symbolic values in her sculpture. In general, Diament de Sujo considers Marisol to be an important figure in the Pop-Art movement and in the contemporary art world. Her interest in Marisol’s work led Diament de Sujo—who at the time was the director of the Estudio Actual de Caracas gallery—to organize the sculptress’s first solo exhibition in Venezuela.