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, the critic Ricardo Pau-Llosa states that the objective sought by Luisa Richter is to recover the essential from the visual languages of Abstract art. Through such languages, the Venezuelan painter represents complex ideas about awareness, creative thinking and the concept of “temporality,” which depends on how a given individual understands time. The writer mentions characteristics specific to Richter’s artwork, including her way of transmitting structures through a lyrical focus on geometric forms. He also describes a process whereby she turns light into space, causing it to penetrate the volumes and tie together the various planes of the painting. Pau-Llosa finds that the artist accords special importance to geometry, which becomes a window into her visual thinking.
This essay about the Venezuelan artist born in Germany Luisa Richter (1928 – 2015) is distinctive because of its author. He is the well-known U.S. critic of contemporary Latin American art born in Cuba, Ricardo Pau-Llosa (b. 1954). Though short, the text is highly interesting to anyone who wishes to study Richter’s work, since it is a critical, precise analysis of her artwork, interpreting many of the characteristics specific to the work she created. It explains how Richter managed to mold and transform the precepts of Informalism (related to light and textures) in order to give them an innovative meaning, thus transcending this movement along with other Abstract art trends. Because the critic’s writing is so astute, some of his statements about Richter were later collected and repeated [see the Diccionario Biográfico (Caracas: GAN, 2005)]. The exhibition for which this text was written included works from Richter’s Action painting period in the 1960s as well as from her more recent work. That is why Pau-Llosa’s text serves as a thread through her development from Informalism to figurative artist.
[As s supplementary reading, see the ICAA digital archive, essays by Juan Calzadilla, “Luisa Richter ” (doc. No. 1160968); and (Untitled) [“En los últimos años se ha suscitado un gran interés por el dibujo…”] (doc. No. 1161048)].