Hi Everyone,
Today I would like to introduce a major retrospective of Gego (or Gertrud Goldschmidt) at the Guggenheim Museum in New York. Gego was born in Germany in 1912. And then, she immigrated to Venezuela by fleeing Nazi persecution in 1939 and developed her own distinctive approach to the language of abstraction.
This chronological and thematic survey features nearly 200 works from the early 1950s through the early 1990s, including sculptures, drawings, prints, textiles, and artists' books. As the structure of the Guggenheim Museum is Rotunda, it seems perfect to track the artist's artistic journey from the early to the late works.
Hope you enjoy the video!
The video will show you each level of the Rotunda in order the below.
1. EARLY WORKS (1953-60)
After arriving in Venezuela from Germany in 1939, Gego took her immediate surroundings as a source of inspiration in the early to mid-1950s, portraying local flora in bright, lush colors, and mountain scenes and houses. Deeply influenced by geometric abstraction’s presence in Venezuela, Gego made a critical transition to nonrepresentational forms.
Selected etchings and ink-on-paper drawings from 1959 and 1960 exemplify Gego’s earliest use of line, form, and space to realize abstract compositions.
2. PARALLEL LINES (1957-68)
Gego engaged the concepts of Venezuelan geometric abstraction, characterized by pure form, line, color, and geometric ordering schemes.
The selection of drawings and sculptures from the late 1950s through the late 1960s considers Gego’s investigations of the spatial and structural possibilities of what she called “Parallel Lines”.
3. TAMARIND LITHOGRAPHY WORKSHOP AND RETICULAR TYPOLOGIES (1962-76)
The works presented here embody Gogo’s milestone developments from 1962 to 1976. While attending the Tamarind Lithography workshop in LA, Gego experimented with embossing, engraving, etching, and lithography.
In 1969, Gego made a decisive shift from “Parallel Lines” to “Nets or Net-like Structures”. She also began utilizing new materials that were easier to manipulate, such as stainless steel and aluminum wire, resulting in airier and lighter hanging sculptures.
4. CHORROS, TRONCOS, AND ESFERAS (1970-77)
The hanging sculptures that Gego developed in the 1970s are composed of interconnected meshes, some based on the square or the triangle. On view in this section are examples from three relevant series: Churros (Streams, 1970-74), Troncos (Trunks, 1974-81), and Esferas (Spheres, 1976-77). Suspended vertically in space, these minimal works emphasize the themes of fragility, gravity, and transparency.
5. DIBUJOS SIN PAPEL, BICHOS, BICHITOS, AND TEJEDURAS (1976-91)
From the mid-1970s through the early 1990s Gego concentrated on bodies of work that collectively demonstrate her research on line, space, and form extending into the final phase of her career.
The Dibujos sin papel marked a crucial turning point in her artistic evolution. Made from wire and small pieces of hardware, these sculptures hang from the ceiling or wall. They function as “paperless frameless drawings” or lines drawn in space.
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* GEGO: Measuring Infinity
Date: March 31 - September 10, 2023
Address: 1071 5th Avenue, New York, NY 10128
Website: www.guggenheim.org/exhibition...
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(주) 크리에이티브 리소스 / Creative Resource INC _Based in New York and Seoul
Website: www.creativeresource.kr
(Art Advisory, Art Handling, and Creative Media Contents Service)
Instagram: @taeumm
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Art Column(Korean)- 시사저널 아트 칼럼 (Sisa Journal)
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