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 the work of Luisa Richter, the art critic Roberto Guevara finds two dimensions that give consistency to two ways of expressing the vocation of the human being: on the one hand, vehemence and passion, and on the other, multiple memories tied to relationships. Guevara perceives the impulse of the gesture as the line that links the two processes. He mentions the reasons and developments that have led the Venezuelan painter born in Germany to conceive a certain body of work. The art critic finds Richter’s work filled with meanings and revelations that [for her,] undoubtedly constitute the message of existence.
Beyond its lyrical writing, the importance of this text written in 1986 by the Venezuelan poet and art critic Roberto Guevara (1932–1998) on the pictorial work of Luisa Richter (b. 1928) is that it is the considered opinion of such an influential person in the Venezuelan art world. Guevara’s text is an idyllic reinterpretation of much of the aesthetic content of Richter’s work; writing in his highly distinctive literary style, here Guevara tries to describe the virtues of her work. The writer understands that her clear intent is for the viewer to transcend the content of her work—and not just see it, but feel it and live it—through a series of mechanisms that evoke emotional responses. In fact, the critic perceives that this artist´s work is constituted based on the abrupt rejection and abandonment of appearances. Since it is related to a retrospective exhibition, this catalogue text does not particularly focus on any of the artist’s phases or styles; instead, it presents an overall perspective, embracing all the artist’s work.