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 article Carlos Mérida reviews the annual exhibition at the Academia Nacional de Bellas Artes. He emphasizes the show’s disorder, the lack of information to guide the public, and the unevenness of both quantity and quality among the exhibited artworks. Mérida likewise comments on the works of some artists, stressing the good results achieved by the Escuela al Aire Libre de Coyoacán—the Open-Air School of Coyoacán—within which, according to him, one notices a certain youthful aspect and a desire for aesthetic renewal.
Through his writings, Carlos Mérida (1891-1984), spans more than six decades of artistic production in Mexico. His vision, fiercely critical and seductive, reflects the thoughts of a person who not only shared the space and time of the diverse developments of art in the world, but who also contributed new readings and distinct analytical viewpoints from those that marked his era. The painter not only wrote about the evolution of the visual arts in Mexico, but also on the topics of caricature, photography, dance, film, design and folk art both in Mexico, and in his native Guatemala. In addition, he also wrote profound reflections on the composition, meaning and function of art. This review was published in El Universal Ilustrado, (December 9, 1920): 8-9.