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The critic Juan Calzadilla discusses the status of the system governing Venezuelan art biennials and salons in 1984, on the occasion of the II Bienal Nacional de Dibujo y Grabado at the Museo de Artes Visuales Alejandro Otero in Caracas. Calzadilla also addresses the status of drawing since the genre boomed in the late 1970s, including the role he played in the development of the Venezuelan visual arts. In closing, he explains why prints were included in this edition of the event.
This essay by the draftsman and critic Juan Calzadilla (b. 1931) is helpful because of his review of the role that drawing played in Venezuelan art as a secondary form of expression used in painting and sculpting. This situation changed during the boom that drawing enjoyed in Venezuela in the late 1970s, which elevated it and placed it on a par with the other two genres. From his perspective as a draftsman, however, Calzadilla criticizes the fact that most of those who participated in this movement equated drawing with painting; so much so that they sought to express the same effects and ideas in their drawings that they would have pursued had they been working with canvas and color.