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 his critical review, Roberto Guevara addresses the roles of “process” and experimentation in the painter Ismael Mundaray’s work. Guevara evaluates Mundaray’s expressive resources and discusses the dynamic that allows the artist’s explorations in one artistic genre to be reflected in another. Guevara refers to Mundaray’s interest in the languages of primitive American and African cultures, and in the development of images imbued with great communicative power. The critic also sees connections between Mundaray’s work and the art produced in the 1980s, and describes his pedagogical vocation as a teacher and founder of art centers.
The works exhibited at Les animaux—the one-man show by the Venezuelan painter, printmaker, and mixed-media artist Ismael Mundaray (b. 1952) at the Galería Mayz Lyon (Caracas) in 1988—express the artist’s continuing interest in the dream world of African culture, in this case focusing on the animals involved in the practice of santería. Mundaray’s paintings capture a sense of the ritual through a blaze of colors and expressionist sketches.
This review by the critic Roberto Guevara (1932–98) sheds light on Mundaray’s work and provides information on the latter’s interest in ancient cultures and the communicative power of images. Guevara mentions Mundaray’s ability to associate people with their environment. The review’s major contribution, however, is its focus on the idea of “process” throughout Mundaray’s body of work. This idea refers to the artist’s penchant for working in a variety of genres, and to his educational efforts that rate workshop activities as being just as important as the finished work itself. Guevara thus takes an axiological approach to research and to the concept of process, both of which, in his opinion, are valid concepts in terms of a particular and/or finished work of art. He also comments on the question of an artist’s involvement in the contemporary art scene, while underscoring the total individuality of Mundaray’s work and its autonomy from the rest of the art being produced in Venezuela. Mundaray stopped using color in the early 1990s, but continued to explore the pictographic universe of Venezuela’s indigenous cultures.