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, Blanca Stábile reviews the exhibitions of nonfigurative art at the Galería Van Riel. She reports that, other than the works produced by artists of the Madí or Vainstein trends, the bulk of the exhibitions are inspired by rationalist tendencies. Regarding the expression of movement through the use of lines and colors, Blanca Stábile mentions the works of Villalba and Prati, in contrast to those by Tomás Maldonado whom she thinks has drifted away from what he did in his earlier work. She also refers to Enio Iommi’s sculptures, and discusses the challenges posed by shadows cast in Raúl Lozza’s artworks (shown at a later date).
Ver y estimar [To See and Ponder] magazine was an editorial endeavor directed by Jorge Romero Brest with the support of his disciples. It was published thirty-four times between April 1948 and December 1953. Following an interruption that lasted a few months, publication was resumed and the magazine appeared ten more times before the second phase of its existence ended in October 1955. Damián Carlos Bayón was the editor-in-chief.
Blanca Stábile (1911–91) was one of Romero Brest’s disciples. She was on the editorial board and wrote art reviews for Ver y estimar magazine. In 1958, Stábile became director of the National Organization for the Protection and Security of Women, at the Ministry of Labor and Social Security, and later was named Argentine ambassador to the United Nations (UN).