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, Luis Enrique Pérez Oramas describes Gego’s body of work. The curator identifies the artist’s early work in the category of geometric abstraction; however, as she developed, she moved toward an approach that was “organic and unclassifiable.” Pérez Oramas explains that Gego’s work was always created with close links to architecture, which is why all her work reveals her sensitivity to space. He specifically points out the work Reticulárea (1969) as the most representative of all Gego’s work. This work was the point of departure for other series, such as Chorros [Streams], Dibujos sin papel [Paperless Drawings], Tejeduras [Weavings], and other reticular pieces.
This text about Gego (Gertrud Goldschmidt, 1912–1994), the Venezuelan artist originally from Germany, was written by the Venezuelan curator and critic, Luis Enrique Pérez Oramas (b.1960). It was included in the publication, Cruce de miradas. Visiones de América Latina. [Alternative Visions from Latin America] (Hong Kong: Colección Patricia Phelps de Cisneros–Fundación Cisneros, 2006). The essay reports on an exhibition with the same name held at the Palacio de Bellas Artes [Palace of Fine Arts] in Mexico City in 2006. Pérez Oramas draws a succinct overview of Gego’s work, emphasizing all her main contributions to modern art as well as her significance as an artist. It is also worth mentioning that Pérez Oramas has been one of the most important and diligent critics of Gego’s artwork.