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.
The art critic Perán Erminy sets forth the standards for organizing the Third Bárbaro Rivas Biennial of Popular Art (Museo de Arte Popular de Petare, Caracas, 1992), explaining the changes in the conditions of the competition stated in the related notice. On the one hand, it would now be open to three-dimensional work, and not just to painting (to which it was limited in prior rounds). On the other hand, the biennial would be limited to work based on a single theme imposed by the curators. Erminy goes on to provide related data about the acceptance of work and of the selection process. Moreover, the writer refers to and analyzes art salons status in Venezuela.
This text by the Venezuelan art critic Perán Erminy (1929–2018) is of interest in that it provides general information about the organization of popular art salons in Venezuela. Erminy compares the Bárbaro Rivas Biennial of Popular Art (held in Caracas) with the National Salvador Valero Biennial of Popular Art [held in the city of Trujillo (State of Trujillo, Venezuela)]. Similarly, Erminy compares popular art salons with fine art salons, showing the parallels between their objectives, and describing their range.
[For supplementary reading, see the text by the anthropologist Juan Ignacio Castillo about the Third National Salvador Valero Biennial of Popular Art, 1991, entitled “¿Y por qué no?”, in ICAA digital archive (doc. no. 1166350)].