Edited by Nadja Peter Weibel. Essays by Bruno Bosteels, Kaira Marie Caba“as, Hannah Feldman, Julieta Gonzlez and Juan Carlos Ledezma. Texts by Lourdes Blanco, Maria Luz Crdenas, Hanni Ossott, Maria Fernanda Palacios, Luis P»rez Oramas and Marta Traba.
Paperback, 8.5 x 11 in. / 240 pgs / 62 color and 111 bw. | 8/15/2006 | Not available $55.00
Published by Spector Books. Edited by Ulrike Groos, Philip Kurz, Stefanie Reisinger, Kerstin Thomas. Text by Maristella Casciato, Hannia Gómez, Sabine Mainberger, Stefanie Reisinger.
From 1932 to 1938, before emigrating to Venezuela, Gego (1912–94) studied architecture and engineering at the Stuttgart Polytechnic University. In 1955—as she began to become active as an artist—she wrote to her former professor, Paul Bonatz: “Even if I have strayed from architecture and found myself unable to master life through it, it has nonetheless shaped me, to some degree at least.” Conceptual approaches and practical ideas about architecture and processes of space creation remained a constant theme in her art. This book is published for the exhibition Gego: The Architecture of an Artist at the Kunstmuseum Stuttgart. The Fundación Gego’s permanent loan to the museum of 100 works has made it possible to illuminate this architectural theme, with special attention to the artist’s graphic work.
Published by Dominique Lévy. Text by Sandra Antelo-Suarez, Jesus Fuenmayor, Kaira Cabañas, Daniel Crespin, Chus Martínez, Anne Tardos.
In the intricate wire sculptures of the German-born Venezuelan artist Gego (1912–94), lines are given new dimension, describing architectural space and engaging with the human body. Gego: Autobiography of a Line gathers key works from the artist’s oeuvre, from her famed entropic sculpture of the ‘70s to the works on paper created at the end of her long career.
This fully illustrated publication is among the first to position Gego’s work in a global context, and features texts by curator Chus Martínez, head of the Institute of Art of the FHNW Academy of Arts and Design in Basel, Switzerland; art historian Kaira Cabañas; and Gego’s grandson, Daniel Crespin; as well as previously unpublished archival material. The book also includes “GEGO,” a new poem by poet, artist and composer Anne Tardos, performing a linguistic intervention in Gego’s work.
Published by Hatje Cantz. Text by Eva M. Froitzheim, et al.
Many of the works of Gego (1912–1994) can be turned around, walked around or walked through, so that their composition seems to be constantly changing. Filigreed and minimal, so light that they almost seem to dance, her grid sculptures can be hung like reliefs in front of walls or positioned freely in space. Born in Hamburg, the Venezuelan artist created her three-dimensional installations out of wire, ropes or aluminum bars, or sometimes with found materials such as clothes hangers or metal springs. Before emigrating in 1939, Gertrud Goldschmidt (Gego) studied architecture at the Technische Hochschule in Stuttgart under Paul Bonatz, and, as a result, the construction of structures and the shaping of space took on great significance in her artistic work, which takes line as a theme in its own right. This publication provides insight into the artist’s drawings and sculptural work and is the first to shed light on how Gego’s studies influenced her work.
Published by Hatje Cantz. Edited by Nadja Peter Weibel. Essays by Bruno Bosteels, Kaira Marie Caba“as, Hannah Feldman, Julieta Gonzlez and Juan Carlos Ledezma. Texts by Lourdes Blanco, Maria Luz Crdenas, Hanni Ossott, Maria Fernanda Palacios, Luis P»rez Oramas and Marta Traba.
Venezuelan sculptor Gertrud Luise Goldschmidt (1912-1994), who worked under the pseudonym Gego, was one of the most important representatives of Latin American Geometric Abstractionism. Born in Germany, Goldschmidt became an architect and later immigrated to Caracas in 1939, where she radically altered the nature of modernist sculpture, countering the deductive logic of 1960s abstraction with a fluid conceptualism, reconfiguring "content-less" art into an open-ended process of "thinking the line." The most comprehensive examination of Gego's art published in English to date, this monograph contains deep analyses by scholars from a range of disciplines as well as previously untranslated historical texts, offering new perspectives on Gego's critical relationships to Venezuelan urbanism and kineticism, the New York avant-garde, and the European modernist traditions of Bauhaus and Russian Constructivism. Includes an illustrated chronology and an extensive plate section featuring three decades of sculpture and drawings.