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.
This text, written by the anthropologist Juan Ignacio Castillo at the time of the 3rd Bienal Salvador Valero de Arte Popular (Trujillo, 1991), is a commentary on popular religious imagery and its use in different social contexts and strata. The writer believes that by the time this biennial was taking place in this Venezuelan city, there was enormous interest in religious imagery on the part of people who lived in the big cities, far from the popular context. Castillo analyzes the origins of religious imagery in Spain and its acceptance and adaptation in Venezuela.
The importance of this text, by the Venezuelan anthropologist and docent Juan Ignacio Castillo, is that it is a thoughtful review of popular religious sects in Venezuela. The writer compares the consumption habits among the different social classes and how these habits affect the makers of images and their communities. Referring to the past, Castillo describes the early artisans (through the nineteenth century) who inherited their line of work based on the canons and standards of Spanish imagery. They created images for the religion practiced in churches and for their patrons’ chapels.
[For supplementary reading, see the text by the critic Perán Erminy, who provides data on the standards of the 3rd Bienal de Arte Popular Bárbaro Rivas, in 1992, as well as comparing it to the 3rd Bienal Salvador Valero de Arte Popular, in ICAA digital archive doc. no. 1166077].