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 this essay, Francisco Da Antonio elaborates on a chronological critique on the work of Gabriel Marcos, who began his artistic training both in Venezuela (at the Escuela de Artes Plásticas y Artes Aplicadas de Caracas), and abroad (Italy and France). The author boosts the artist for the awards he received at the XVII Salón Oficial Anual de Arte Venezolano in 1956 and reviews Marcos’s most important career milestones since his Informalist experiences to the first geometric abstraction “experimental” work and sculpture. Da Antonio analyzes several creations by Marcos, paying particular attention to the “Estructuras articulables.” In addition, he proposes a chronology of the artist’s work describing characteristics that are present in each one of these stages. Finally, Da Antonio mentions the various movements (Informalism, Expressionism, Constructivism) and artists (Paul Rebeyrolle, Jean Dufour, Antoni Saura, Sao Wuky, and Kenneth Armitage,) among others, who influenced his thinking and work.
The painter, critic, and curator Francisco Da Antonio (b. 1930) chronologically summarizes the work of Gabriel Marcos (b. 1938) on the occasion of the latter’s retrospective exhibition presented at the Museo Arturo Michelena de Caracas in 1995. In addition to writing the text for the catalogue, Da Antonio served as the curator of the exhibition and was the one who selected the specific work that was exhibited. At stake is a project thoroughly investigated, researched, and supported with footnotes and quotes from various authors familiar with Marcos’s work (such as Perán Erminy and Roberto Guevara). The catalogue also includes several texts that appeared in the national press, journalistic writings (by Segundo Cazalis and José Ratto-Ciarlo), and fragments written by the artist himself. In his text, Da Antonio underscores much of the relevant material written on the artist’s work. These reliable sources support Da Antonio’s research and constitute the basis for the chronology of Marcos’s work. This text is the most important text written on Marcos’s work and where Da Antonio establishes for the first time two precise stages in his artistic trajectory, dividing them according to their different styles and his production series: (1) “From the figurative to experimental art” (from 1956 until the end of the seventies) he embarks in producing pictorial works initially (awarded, even when still a student), his Informalist experience and early work where he incorporates the electro-mechanical movement; in particular, in the series Estructuras articuladas; (2) “From the plane to three-dimensional geometry” (from the late 1970s to the present), where the sculpture is dominated by characteristics of Constructivism and geometric abstraction, which are largely defined by their verticality.