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.
Roberto Guevara reviews what are described as the first and second stages in Corina Briceño’s career as an artist. Guevara begins by contextualizing her generation; he mentions that she is committed to reclaiming “a new humanism” expressed through new visual ideas. He also notes that Briceño began as a draftswoman, capturing her natural, everyday surroundings in drawings so that others might see them too. Guevara identifies recurring themes in her work, such as the natural world, and mountains fused with human figures. He also mentions her transition from drawing to painting which, in his opinion, strengthened her and helped her to develop her own ideas with no regrets.
The Venezuelan art critic Roberto Guevara (1932–98) reviews the work of the Venezuelan visual artist Corina Briceño (b. 1943) on the occasion of the exhibition Óleos y dibujos at the Galería Minotauro in 1983. In poetic yet specific, accurate terms, Guevara discusses the formal and conceptual characteristics of Briceño’s work. Referring to her early works, he describes the constant symbiosis generated by the fusion of human figures with different shapes in the natural world, a process she creates with the lines of her drawings and subtle transparencies. Turning to her second stage, Guevara mentions Briceño’s exploration of her natural, every day, familiar surroundings. These two features are representative of Briceño’s work during what are referred to as the first two stages in her art career. The first stage began in the late 1970s, and the second began in the 1980s.
Briceño’s concerns and style have not changed since then, though she works in different media, sometimes making prints, sometimes making sculpture. The insights mentioned above make Guevara’s review essential reading for those who would understand Corina Briceño’s art, since it is one of the first (descriptive and analytical) references to her work.