Documents of 20th-century Latin American and Latino Art

www.mfah.org Home

IcaadocsArchive

Document first page thumbnail
  • ICAA Record ID
    1159784
    TITLE
    Gego, retículas residuales y modernidad involuntaria : la sombra, los rastros y el sitio = Gego, residual reticulareas and involuntary modernism : shadow, traces, and site / Luis Pérez Oramas
    IN
    Questioning the Line: Gego in Context/Cuestionando la línea : Gego en context (International Center for the Arts of the Americas (Series) no. 2. -- Houston : Museum of Fine Arts, Houston/ICAA, 2003
    DESCRIPTION
    p. 83-115 : ill.
    LANGUAGES
    English; Spanish
    TYPE AND GENRE
    Book/pamphlet article – Essays
    BIBLIOGRAPHIC CITATION

    Pérez Oramas, Luis. “Gego, Residual Reticuláreas and Involuntary Modernism: Shadow, Traces, and Site,”/ “Gego, las retículas residuales y modernidad involuntaria: la sombra, los rastros, el sitio,” in Mari Carmen Ramírez and Theresa Papanikolas, eds., Questioning the Line: Gego in Context/Cuestionando la línea. Gego en context, International Center for the Arts of the Americas (Series) no. 2, Spanish translation by Héctor Olea, English translation by Julieta Fombona, (Houston: Museum of Fine Arts, Houston/ICAA, 2003), 83–115.

     

    NAME DESCRIPTORS
Editorial Categories [?]
Synopsis

Luis Enrique Pérez Oramas analyzes Gego’s work in light of what he considers her contribution to the history of visual art. The critic considers [the source of] that contribution to be the different artistic milieu in which her artistic life unfolded. Though she did draw from certain modern art sources, most of her work was created on the periphery of the modern art world, and her work transcended modern art. The curator believed Gego’s work was executed without her having in mind any predetermined meaning, that she instead developed the work through “structural accidents,” apart from any formal governing plan. Therefore, far from the ideologies of modern art, Gego’s work obeyed the “logic of deviation.”

Annotations

This text was written by the Venezuelan curator and critic, Luis Enrique Pérez Oramas (b. 1960) on Gego (Gertrud Goldschmidt, 1912–1994), the Venezuelan visual artist originally from Germany. It was included in a set of lectures given in connection with the exhibition, Questioning the Line: Gego, A Selection, 1955–90, held in 2002 at The Museum of Fine Arts, Houston. 

Pérez Oramas was one of the most important and diligent critics of the artist’s work. There are many concepts about Gego’s work explained in this text that would serve as the basis of critical perspectives developed by other art scholars and by Pérez Oramas himself in the future. In some cases, the concept would be the main subject of an article; in other cases, it would be included in other essays. Ideas that would appear in later articles include the “rhizome” as applied to the Reticulárea, the distinction between a Reticulárea and “a reticular practice,” the artwork as “accident,” the breakdown of the modern art trend, etc. Thus, this text can be considered the essay that launched the art history of this artist.

Fragments of this document are included in the texts selected for the bilingual book, Desenredando la red. La Reticulárea de Gego. Una antología de respuestas críticas / Untangling the Web: Gego’s Reticulárea, An Anthology of Critical Response, María Elena Huizi and Ester Crespin (organizers)—to be published in 2013 by The Museum of Fine Arts, Houston, and the Fundación Gego, Caracas.

 

Researcher
Josefina Manrique
Team
Fundación Mercantil, Caracas, Venezuela
Credit
Luis Pérez-Oramas © 2003 by the Museum of Fine Arts, Houston
Location
International center for the Arts of the Americas, Houston