The Dominican Association of Art Historians presents a directive

The Dominican Association of Art Historians (ADHA), called a press conference at the Bellapart Museum with the purpose of presenting its directive and plan of action in favor of stimulating the study of phenomena typical of the history of Dominican art and cultural heritage. of the nation. The activity was attended by artists, collectors, media representatives and Gamal Michelén, vice minister of Cultural Heritage of the Dominican Republic. Dominican.

The Dominican Republic has a group of professionals specialized in art history, who have decided to join to promote their professional qualification, research, dissemination and training in their area of ​​study, together with other foreign specialists, many of whom are based on Dominican soil.

The art historian is a sensitive entity, a lover of artistic creations, cultural studies, aesthetics as a philosophy of art, as well as the foundations of form. His practice constantly feeds on his experiences and circumstances, developing a logical discourse attached to academic praxis, historical sense and observation. So the meeting of dozens of specialists trained in this area of ​​knowledge comes at a good time to promote the study, analysis and research of art in the Dominican Republic.

The ADHA arises from the hand of the art historian Paula Gómez Jorge, as president of the entity, being accompanied on the board by Sara Hermann as vice president; Isabel Serrano as secretary; Miguel Liz as treasurer; and Elena Litvinenko, Laura Gil and Lilian Carrasco as vocals.

“There are many specialists in art history in the Dominican Republic, but we are disaggregated,” says Paula Gómez s. “What the ADHA is coming to do is to constitute a strong voice so that this specialty takes the strength it deserves in our country.”

Along with the logistical and representative role that the board will assume, each member has specific functions with the purpose of promoting research and dissemination of national art both locally and internationally. To this is added a wide agenda of projects, among which are training in art history through strategic alliances with universities and teaching centers; technical advice for artistic projects; also, the cataloging and orientation for the conformation of art collections, academic activities and publications.

Likewise, it is proposed to promote curatorship, museology, museography and art criticism, trying to establish an archive in which the bulk of information on the evolution of Creole art is preserved and systematized. This is so because many projects ignore the documentary record and, over time, lose their legitimacy.