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.
Journalist Ildemaro Torres analyzes the life and work of painter Abilio Padrón (b. 1931). In his article he describes the artistic process of his career as a draftsman and graphic illustrator. The author likewise includes in his text a chronology and comments by Aquiles Nazoa regarding Padrón’s work and a record of the publications for which the artist worked as a cartoonist. There are also remarks by Padrón wherein he expresses his concept of a cartoonist, affirming that the latter should communicate the objective and symbolic information of his era. He also comments on the difference between a pure artist and a graphic artist; while also offering relevant aspects of his education and his conceptual vision of cartoons, satirical illustrations, and humor; Padrón understands the latter as an art of reality and of contact with the public.
On the occasion of the retrospective show El ojo mordiente. Dibujos humorísticos de Abilio Padrón that took place in 2000 at the Museo de la Estampa y Diseño Carlos Cruz-Diez, the Venezuelan artist Abilio Padrón (b. 1931) is the subject of this analysis by Venezuelan journalist Ildemaro Torres. He gathers documentary information that is indispensable for research into Padrón’s artistic career that was very rarely reviewed during exhibitions of his work. In this text by contrast, the names of Fina Weitz and Holanda Castro stand out as direct references useful for an informational search on Padrón’s work. Likewise, for those who do not have the opportunity to delve into the catalogues or texts for deeper analysis, this article provides a brief chronology, basic information on the artistic endeavor, and also succinct paragraphs that condense the views and ideas of the artist on specific topics: the difference between pure artists and cartoonists, as well as his concept of humor. Torres took these views from an interview he conducted for his book, El Humorismo Gráfico en Venezuela en 1981.
The text regards one of Padrón’s last solo exhibitions, which marks this article as important to the bibliographical and critical documentation on his work.