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Amor, Mónica

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Mónica Amor

Gego: Weaving the Space in Between

Index

Author

Mónica Amor

PublisherYale University Press

Stable URL: https://aaeportal.com/?id=-31672

Index

Abend, Harry, 209

Abouhamad, Jeannette, 3

abstraction (abstract art): Arroyo on Dorner and, 59

Brett on Gego’s lineage within, 261n222

Concrete/Neoconcrete art and, 170

eccentric abstraction, 85, 248n41

first exhibition, 24, 240–41n29, 241n31

geometric abstraction, 27–28, 32–33, 37, 63, 64, 70, 78, 85, 88, 94, 106, 120, 122, 126, 205

Los Disidentes and, 25 (see also Disidentes, Los)

metals and, 64–68, 65, 66

Otero and, 24–26, 29–30, 64 (see also Otero, Alejandro)

and product, in Tecoteca ad, 62, 63

reassessment of, 25–26. See also constructivism; Kinetic art; modernism; specific artists and works

Academia de Bellas Artes. See Escuela de Bellas Artes y Artes Aplicadas

acoustics. See Aula Magna

Act 8: A Manipulable Canopy (Knodel), 140, 141

ad-hocism, 7, 13, 219, 224, 230, 234, 237

Adler, Rachel, 86, 204

Agam, Yaacov, 47

Aguilar, Gonzalo, 177

A: hombre y expresión (magazine), 12, 28, 32, 111

advertisements, 62, 63, 66–68, 66, 67, 125

articles, 105, 114, 115

Albers, Anni: on art fabric, 253–54n195

exhibition catalog, 78, 78

Gego’s encounters with, 89, 247n21

on textiles, 77–78, 80, 84, 141

on weaving, 76, 78, 83, 138–40, 142–43, 247n21, 253n193, 254n196

On Weaving (book), 76–77, 138–40, 142–43

works (art weavings), 141, 142

Albers, Josef, 76, 78, 89, 98, 116, 247n17, 248n30, 251–52n136

Albisetti, James, 96

Alcock, Jimmy, 11

“Alejandro Otero: the Integration of the Arts” (Pineda), 192, 258n124, 258n126

Alfombra Loma Verde (Gego tapestry, ca. 1970), 82, 83

Alfombra Neumann (Gego; sketch for tapestry, 1965), 81, 81, 83, 248n32

Alfombra Pieck (Gego; sketches for tapestry, 1967), 81–83

Allen, Ann Taylor, 95, 249n60

Amaral, Jim, 80, 83, 248n36

Amaral, Olga de: fiber art education, 253n189

and Quevedo, 83

weavings and exhibitions, 80, 80, 81, 83, 93, 138, 247nn27–29

workshop, 248n36

Ambientaciones cromáticas (Cruz-Diez), 199–200, 200

Amphion, L’ (Laurens), 36

Anfiteatro José Ángel Lamas, and murals, 24, 122–25, 123–25, 252n157

anudamientos (knotting/linking techniques), 4

ad-hocism of, 13, 234

in bichos, 228–30

in Dibujos sin Papel, 13, 131, 223, 224, 227–30, 228

documented by Sotillo and Fontanillas, 77, 130–33, 223, 254n24

in reticuláreas, 76, 77, 127–28, 127, 130–38, 131–33, 152, 223–24, 227 (see also specific reticuláreas). See also reticuláreas

applied arts, 102, 103. See also craft(s); Escuela de Bellas Artes y Artes Aplicadas

Árbol, El (The Tree; Reverón), 110, 111

Architectural Forum (magazine), 35

architecture: architectural drawings (generally), 146–48

art fabric and, 140–41, 253n193

Baroque architecture, 40, 243n106

bridging gap between architects and engineers, 70–71

colonial and neocolonial architecture, 18–20, 40, 114

as craft, 114, 117–18

Gego’s education in, 15–16, 53, 54–58, 71, 78, 85, 99–100, 245n167, 249n84

in Germany, 16, 53–58, 99, 245n149 (see also Bauhaus; Technische Hochschule; Werkbund)

humanist approach, 33–34

indigenous/ local constructions, 114–16

integration of art and, 27–28, 36, 45–46, 59, 147 (see also Plaza Cubierta; Villanueva, Carlos Raúl)

in magazines, 31–32 (see also specific magazines)

music and, 39, 243n101

new technologies and, 37

Otero and, 27–29

textiles and, 77–78

texture in, 106–7

and Venezuela’s modernization, 22–23, 251n125. See also Facultad de Arquitectura y Urbanismo; specific buildings, locations, and architects

Architecture of Fantasy, The: Utopian Building and Planning in Modern Times (Conrads and Sperlich), 184, 256n92

Areloa, Mike, 258n122

Argan, Giulio Carlo, 149

Aristotle, 215–16

Arp, Hans, 36–37, 40, 138

Arredondo, Isabel, 191

Arroyo, Miguel: on art in the 1960s, 126, 252n159

and artisanal craft and approach, 12, 30–31, 75, 78, 104–10, 120, 250n98, 101, 108

and Catlin, 86

as ceramics artist/instructor, 59, 102, 104–6, 109, 120, 126, 250n101

on the Chorros, 205

and Cruz del Sur, 61, 61, 63, 106–7, 106, 241n64

on CUC’s architecture, 251n129

and de Amaral, 80

Dorner’s influence, 59–60

and El Toronjil, 30, 30

and Forma Veinte, 30–31, 108–10 (see also Forma Veinte)

and Gato (design store), 59

Gego’s relationship with, 11, 63–64, 104, 107, 137, 247n22

and Gego’s Reticulárea (1969), 90–92

and the IDD, 81, 208, 260n191

and Imagen de Caracas, 189

importance of, 12

as instructor at school of architecture, 108–9, 251n127

marriage, 11, 89 (see also Blanco, Lourdes)

murals, 107–8, 108

as Museo de Bellas Artes director, 78, 247n19, 247n28, 248n38

national project of, 121

and OTEPAL, 174

specialization avoided, 119

talk on artistic responsibility, 118

on touch and texture, 107

on universality and mestizaje, 111

Arte abstracto en Venezuela (exhibition, 1957), 64, 68, 246n194

Artec (furniture company), 120–21

Arte Contemporáeno Venezolano (exhibition, 1977), 130, 253n167

Arte para una nueva escala (R. Guevara), 198. See also Guevara, Roberto

Artes plásticas en Venezuela, Las (exhibition, 1976), 253n167

Arte y Vida (Art and Life), 13, 220–23, 226, 230

art fabric, 75, 93–94, 128, 138–41. See also Beyond Craft: The Art Fabric; fiber arts; textiles; wall hangings; weaving

articulations. See anudamientos; reticuláreas: anudamientos

artisanal modes of production: Arroyo and, 104–8 (see also Arroyo, Miguel)

and CUC murals, 38–39, 243nn96–97

Gego on links between art, design, and, 100

Gego’s furniture workshop, 59, 60, 75, 118, 119 (see also Muebles Gunz)

for Gego’s works, 49, 128–29

glass mosaic, 125–26 (see also glass mosaic)

and industrial processes, 109, 118–21, 125–26, 128, 252n143, 252nn148–49, 252n158)

for Otero’s murals, 122–25, 123–25 (see also Otero, Alejandro)

preindustrial production, 109, 128, 250n98, 250–251n114, 252n163. See also Arte y Vida; craft(s); Forma Veinte; workshops

arts education, 97–99, 102–4. See also Bauhaus; Escuela de Artes Plásticas y Artes Aplicadas “Cristobal Rojas”; Escuela de Bellas Artes y Artes Aplicadas; Facultad de Arquitectura y Urbanismo; Froebel, Friedrich; Gego, education and training of; Technische Hochschule

Asociación de Artistas Plásticos, 103

Asuar, José Vicente, 257n116

Ateneo de Caracas, 241n40, 250n98, 252n159

Auerbach, Ruth, 207, 210, 215, 225, 230

Aula Magna (CUC auditorium; Villanueva), 36, 40, 41, 42, 44–47, 44–46, 244n121, 244n123

Auther, Elissa, 76, 79, 85, 94, 248n38

Autobiography of a Line (Gego, 1964, 1966), 255n45

Avenida Bolivar, 185, 188, 190, 256nn93–94

Awaka weaving workshop, 83, 248n36

Baker, Amy, 167–68

Banai, Noit, 179–80, 209

Banco Obrero, 18–19, 28, 121, 242n80, 252n157

Baroque architecture, 40, 243n106

Barr, Alfred, 50

Barraca de Maripérez, 24, 110

Barrios, Armando, 24, 61

Basic Composition Course. See Bauhaus: Vorkurs; Facultad de Arquitectura y Urbanismo; Instituto de Diseño Fundación Neumann: curriculum

Basualdo, Carlos, 228, 230

Battistini, Aimée, 241n36

Baudrillard, Jean, 259n148

Bauhaus, 99

architecture, 16, 53, 55, 56, 251n125

experiential paradigm, 98, 102

Gego and, 78

metal workshop, 101

spread of Bauhaus model, 85

Vorkurs (foundation course), 78, 98, 112, 116, 251n126

weaving, 55, 75, 76, 78, 84. See also Gropius, Walter

Behne, Adolf, 53. See also Neues

Bauen movement Behrens, Peter, 249n87

Bemergui, Mario, 185–86, 185

Bendayán, Sol, 175

Benedetti, Anne and Thierry, 225

Benson, W. A. S., 116–17

Beyond Craft: The Art Fabric (Constantine and Larsen), 73–74, 75, 85, 93–94, 138

Biblioteca Central (CUC library; Villanueva), 42

Bichitos (Small Sculptures), 13, 223, 224, 227, 230

Bichito 89/29 (1989), 224

bichos (Gego): anudamientos and, 228–30

bichos as term, 88, 200–202, 207, 215–16, 224

Gego’s works as, 214, 224, 227

logbooks, 88, 89

logic of, 233–34

Tejeduras and, 234–37. See also Bichitos

Bill, Max, 119, 120, 252n150, 261n244

Bimural (Léger), 36

Blackmore, Lisa, 3, 20, 22, 28, 199–200, 240n20

Black Mountain College, 247n17

Blanco, Lourdes, 1, 11, 59, 89–91, 93, 165, 248n57, 251n117

blankets, 31, 83, 110, 120, 251n117

Bletter, Rosemarie, 56

Bloc, André, 33–34, 36

Bloch, Oskar, 246n169

Boden, Margaret, 222

Bois, Yve-Alain, 39, 206–7, 215

Bolivar, Simón, 19–20, 25

Bonatz, Paul, 16, 55–58, 56, 59, 99, 102, 245n164, 246n171

books by Gego: artist’s books, 177–78, 178, 180–81, 181

Autobiography of a Line, 255n45

Espacio, Volumen, Organización, 210, 216

Lines (lithographs), 167–70, 168, 169

logbooks, 88, 89. See also printmaking

Borges, Jacobo, 257n116

Bornhorst, Dirk, 63

Boullée, E. L. (Étienne-Louis), 37

Boulton, Alfredo, 86

Bracho, Gabriel, 24

Branch, Dix, 130, 225–26, 262n24

Brandt, Alberto, 59

Braque, Georges, 107

breñales (term), 207. See also Esferas

Brett, Guy, 223–24, 244n129, 261n222

Briceño Guerrero, José Manuel, 3–4

bricolage, 13, 230

Brush, Kathryn, 52

Brussels World’s Fair, 70

Bulletin of the Museum of Modern Art, 50

Bunshaft, Gordon, 250n108

Burle Marx, Roberto, 182, 244n110, 256n85

Busbea, Larry, 257n101

Cache, Bernard, 195–96

Cafeteras, Las (The Coffeepots) (Otero), 24. See also Otero, Alejandro

Cage, John, 253n167

Calder, Alexander, 34–35, 44–46, 44, 45, 46, 89, 242n78, 244n121

Caldera, Rafael, 187, 198, 260n192

calendar, Plexiglas (Gego, 1970), 101–2

Campbell, Joan, 99

candleholder (Gego; realized by Slutsky), 100–101, 100

Capellini family, 252n159. See also Cristanac

Caraballo Perichi, Ciro, 19–20

Caracas, 31, 190

cultura del petróleo, 2–3 (see also oil)

earthquake, 192, 257n116

modernization, urbanization, development, 3, 20, 22–23, 28, 184–88, 192, 196–98, 199, 256n91, 256nn93–95, 256n97 (see also specific projects and locations)

Nazoa on architecture of, 33, 186

neocolonial architecture, 18–20. See also Ciudad Universitaria de Caracas; housing; Imagen de Caracas; specific locations and institutions

Caracas a través de su arquitectura (Posani and Gasparini), 198–99, 199

Carbonell, Antonio, 121

Carbonell Parra, Diego, 61, 121, 251n125

Carrasco, Matias. See Nazoa, Aquiles Carreño, Omar, 241n40, 246n192

“Carta de texturas” (“Letter on Textures”) (Arroyo), 106–7

Cartesian grid, 215, 261n221

Castro, Pedro Léon, 24

Catlin, Stanton Loomis, 86–87

Cedeño, Sylvia, 130–36, 136, 138, 224, 227, 253nn169–71

Celis Cepero, Carlos, 28

Center for Inter-American Relations, 246–47n9

Reticulárea (1969) installation, 76, 86–89, 86, 87, 248n47, 248n52, 259n168, 259n172

Centre International de la Tapisserie Ancienne et Moderne (CITAM), 138, 253–54n195

Centro de Enseñanza Gráfica (CEGRA), 175

Centro de Investigaciones Históricas y Estéticas, 114

Centro Profesional del Este, 63, 63, 64, 65, 65

Centro Residencial El Conde (unrealized), 185–86, 185

Centro Simón Bolivar (CSB), 20, 21, 33, 126, 185, 187, 190, 194, 256n93, 257n115. See also Parque Central

ceramics: Arroyo and, 59, 102, 104–6, 109, 120, 126, 250n101. See also Merchán, Cristina; Tofano, Tecla

Chacón, Alfredo, 21

chair, wooden (Gego, 1948), 101, 101

Chakrabarty, Dipesh, 4–5, 239n11

Chaos Bound (Hayles), 207. See also Hayles, Katherine

Choisy, Auguste, 36

Chorro-Reticulárea (Gego; 1988), 202, 204

Chorros (Gego; 1970 and beyond), 200–207

articulation, 76

fluidity/ flow suggested, 200–202, 205–7, 212, 260n204

Galería Conkright installation, 201, 202, 204, 233, 259n167

Gego’s intention in making, 212

handmade process, 119

in MACC retrospective exhibition (1977), 200, 202, 203, 205–6, 206, 259n167

Parsons Gallery exhibition (N.Y.), 138, 204, 259nn167–68, 259n172

photos used in Tejeduras, 231, 232, 233

Reticulárea contrasted with, 138, 141, 216

thematic explorations, 165, 183, 216

Christoffersen, Nynne Just, 252n163

CIAM. See Congrès internationaux d’architecture moderne

“Cinematic Plastics of Soto, The” (Erminy), 70

Cinta (Grande) (Gego, 1962), 156

CITAM, 138, 253–54n195

Ciudad Piar, 35

Ciudad Universitaria de Caracas (CUC): Arroyo on architecture of, 251n129

clocktower, 188

construction and opening, 33, 252n68

glass mosaic coverings, 29, 38, 126, 252n158

murals, 29–30, 33, 36, 37–39, 38, 43, 66, 107–8, 108, 243nn96–97

Otero’s works for, 24, 29–30, 29, 122, 241n58

student evaluation of CUC architecture, 113–14

Universidad Central closed, 209, 260n192

Villanueva’s architecture, 11, 12, 16–18, 17, 29, 33–47, 38–44, 46, 242n67, 243n105 (see also Villanueva, Carlos Raúl). See also Aula Magna; Facultad de Arquitectura y Urbanismo; Plaza Cubierta

Clark, Lygia, 48

Clayter, Frederic C., 108

Clouds Shepherd (Arp), 37

Cocoteras en la Playa (Reverón), 111

Collins, Peter, 37, 40, 47

colonial and neocolonial architecture, 18–20, 19, 40, 114

colonialism, 3–4, 221. See also oil

Coloritmos (Colorhythm) (Otero, 1955–71), 23–24, 23, 30

Concrete and Neoconcrete art, 177

Conde, El. See El Conde

Congrès internationaux d’architecture moderne (CIAM), 35, 184, 242n74, 242n79, 256n91

Constantine, Mildred, 83, 86–89, 136, 253n180, 253n191

Beyond Craft: The Art Fabric, 73–74, 75, 85, 93–94, 138

questionnaire, 73, 74, 75–76, 84, 85, 88

reticuláreas seen as studio craft, 118

Wall Hangings (exhibition and book), 74, 75, 80, 85

Construcción (magazine), 125, 125

construction industry, 20, 22–23, 32, 118

constructivism: Gego and, 68, 89, 116, 147, 154–58, 165, 175, 205, 211, 212, 255n45 (see also parallel lines; Troncos)

Petherbridge on, 147

reassessment of, 25–26

Rodchenko and, 157–58

Russian Constructivists, 89, 106

space as key element, 79. See also specific artists and works

“Contemplating Parallax” (Smith Pierce), 47

Contra-relevos (Clark), 48

Córdova, Armando, 21, 31–32, 246n190

Coronil, Fernando, 20, 22, 64, 240n20

craft(s): Arroyo and artisanal crafts, 12, 30–31, 75, 78, 104–10, 120, 250n98, 250n101, 250n108 (see also Arroyo, Miguel)

in Bauhaus pedagogy, 251n126 (see also Bauhaus)

vs. fine arts, 75, 85

Gego on working with hands, 117–18, 119

in Gego’s pedagogical thought, 112–13

Gego weary of category, 85

industrial artisans, 118–19

messiness, 128 (see also messiness)

preindustrial craft production, 109, 128, 250n98, 250–251n114, 252n163

as resistance, 120

Shale’s definition, 118

techne (art/ craft), 226, 230

traditional/indigenous crafts, 61–63, 79, 104–5, 109–11, 120, 234, 250n98, 250–51n114 (see also indigenous peoples and crafts)

U.S. revival, 104, 250n101

workshop logic, 116–18. See also applied arts; Arte y Vida; artisanal modes of production; ceramics; Escuela de Bellas Artes y Artes Aplicadas; fiber arts; Forma Veinte; hecho a mano; mano de obra; weaving; specific artisans and companies

Cristanac, 66, 66, 124, 125–26, 252n158

“Cristobal Rojas” school. See Escuela de Artes Plásticas y Artes Aplicadas “Cristobal Rojas”

Cromoestructuras circulares (Cruz-Diez), 199–200, 200

Cruz del Sur (bookshop, gallery, community), 20, 31–32, 61–63, 61, 68, 241–42n64, 246n187, 250n98

Cruz del Sur (magazine), 12, 20–22, 31–32, 106, 111

advertisements, 23, 23, 61

articles and reviews, 59, 106–7, 114–15, 120–21

Cruz-Diez, Carlos: film, 48–50, 48, 51, 114

Gego encouraged, 64

Gego’s work contrasted with, 50, 259n175

specialization avoided, 119

works and exhibitions, 47, 191, 199–200, 200, 246n194

CSB. See Centro Simón Bolivar

Cuadriláteros (Gego), 225, 226

Cuatro Muros. See Galería Cuatro Muros

Cuatro Planos Rojos (1967), 156

Cubism, 26

CUC. See Ciudad Universitaria de Caracas

Cuaderno Verde (Green Notebook), 180–81, 181

Cuerdas (Ropes) (Gego, 1972), 13, 146, 181–84, 188, 194–96, 198, 202, 205–6, 225

photographs, 144, 182, 195, 203

sketches, 146, 183, 183, 196, 197, 198, 254n3, 256n87

cultura del petróleo, 2–3, 20, 120. See also oil

cursive handwriting, 177

Da Antonio, Francisco, 241n31

D’Amico, Margarita, 192, 258n120, 258n133, 258n135

Daniels, Mary, 242n79

Davis, Bruce, 168

de Amaral, Olga. See Amaral, Olga de

Debourg, Narcisco, 24

Dehn, Max (Gego’s uncle), 59, 247n17

Deleuze, Gilles, 147, 177, 180

Delfino, Enrique, 187, 187. See also Parque Central

del Marle, Félix, 34

Delpre C.A., 182, 187, 257n106. See also Cuerdas; Parque Central

del Prete, Juan, 24

Dembo, Nancy, 185

Derrida, Jacques, 5

design. See architecture; artisanal modes of production; craft(s); specific schools

de Soto, Ernest, 255n49

Dibujos sin Papel (Drawings without Paper) (Gego), 8–9, 131, 158, 165–67, 170, 224–25

anudamientos (linkages), 13, 131, 223, 224, 227–30, 228

Dibujo sin Papel 76/1, 8–9, 8

Dibujo sin Papel 79/18, 9, 11

Dibujo sin Papel 79/20, 9–10, 10

Dibujo sin Papel 85/5, 228, 228

Dibujo sin Papel 86/13, 218, 228–30, 229

Dibujo sin Papel No. 5-A (1983), 227

Dibujo sin Papel No. 10 (1979), 227

displaced from support, 177, 227

late works, 13

materials, 8, 131, 227–30

Ossott on, 225. See also Bichitos

Disidentes, Los (group), 25–26, 59, 107, 111

Disidentes, Los (magazine), 25–26, 25, 241n32, 241n36

dislocation, 149

Dispositivo ciudad (Device City; Posani’s “shed”), 189–91, 190, 198

Doce círculos concéntricos (Twelve Concentric Circles) (Gego, 1957), 49, 49

Dominguez, Cipriano, 185, 251n125

Doppert, Monica, 220

Dorner, Alexander, 52, 59–60

Dos Discos (Two Disks) (Gego; 1966), 156, 157

Downey, Juan, 94. See also Latin America: New Paintings and Sculpture

drawings by Gego, 148–65

boarding house design, 57, 57

coiled or trembling lines, 164–65, 164

Cuerdas sketches, 146, 183, 183, 196, 197, 198, 254n3, 256n87

Gego’s approach to line, 145–48, 227 (see also line)

itinerancy of Gego’s lines, 162–63

line as thread or trace, 164

Manrique’s chronology, 154–55, 158, 254–55n31

“meshwork” or weave-like drawings, 163–64, 163

parallel lines in, 154–62, 155–56, 158–64, 164–65, 255n31

performative nature of, 147–48, 152

relationship to 3D works, 76

reticular drawings, 89–92, 90–92, 151–53, 151–53, 184, 184

for Reticulárea (1969), 87, 87, 90, 91, 91, 248n47

for Reticulárea (1981), 130

ruptures/gaps in lines, 158, 158, 160, 160

shifts in line thickness/ volume, 157–58, 158

sketches for rugs/tapestries, 81–83, 81, 248n32

smudges, 160, 160, 161, 161

for tapestries and rugs, 80–81, 81, 83

technical drawings, 15, 16, 17, 146–47, 240n3

topological treatment of line, 76, 91, 147

without paper (see Dibujos sin Papel). See also line

Drexler, Arthur, 186

Duchamp, Marcel, 47, 48

Duco, 23–24, 30, 31, 240n25

Dunia, George, 210, 225, 262n15

Earth Moves: The Furnishing of Territories (Cache), 195–96

Eco, Umberto, 261n222

El Conde, 185–92, 185, 190, 193, 196, 256n97, 257n120. See also Imagen de Caracas; Parque Central

“Elementos plásticos utilizados en defensa contra los elementos (sol y lluvia)” (Villanueva), 18, 18

Elements of Handicraft and Design (Benson), 116–17

El Paraiso (Villanueva and Celis Cepero, arch.), 20, 28, 29

El Silencio (Villanueva, arch.), 19, 19, 27, 36, 240nn6–7

El Taller. See Taller de Artistas Gráficos Asociados

El Toronjil, 30, 30

Entrelazado en blanco y negro (de Amaral, 1965), 80, 80

Erminy, Perán, 24, 26, 70, 102–3, 246n199

Escuela de Arquitectura. See Facultad de Arquitectura y Urbanismo

Escuela de Artes Plásticas y Artes Aplicadas “Cristobal Rojas,” 102, 104–5, 105, 109, 112. See also Escuela de Bellas Artes y Artes Aplicadas

Escuela de Bellas Artes y Artes Aplicadas (School of Fine and Applied Arts), 24, 26, 64, 71, 102–3, 240n26, 241n40, 250n92. See also Escuela de Artes Plásticas y Artes Aplicadas

Esculturas y Guaches (1958 exhibition, Cruz del Sur), 68

Esferas (Spheres) (Gego), 133, 211, 213–14, 216, 225

Esfera en cubo (Cube within Sphere) (1966), 68

Esfera en Hexaedro (1964), 156

Esfera No. 1 (Sphere No. 1) (1976), 216

Esfera No. 4 (Sphere No. 4) (1976), 216

Esfera No. 6 (Sphere No. 6), 208

Esfera No. 8 (Sphere No. 8) (1977), 216

in MACC retrospective exhibition (1977), 203, 206, 206, 207, 208

Sphere (1959), 50, 50, 68, 156, 175

Espacio, Volumen, Organización (Gego, Vera, and Mancilla), 210, 216

Espinoza, Eugenio, 227

Espinoza, Manuel, 175, 209, 257n116, 260n189

Estructura Pequeña (Small Structure) (Gego, 1967), 165

Estructura Sono-Vibratil (Otero), 194

Everson Museum of Art, 136, 137

“Evolution or Rupture” (Vasarely), 68

Exposición Panamericana de Pintura Moderna, 24, 240–41n29

“Fabricación de mosaico vidrioso en Venezuela” (Illundain), 125, 125

Facultad de Arquitectura y Urbanismo (school of architecture): annual exhibitions, 175

Arroyo as instructor, 108–9, 251n127

Basic Composition Course, 108, 111–14, 113, 116–17, 119, 129, 148, 251n127

building and artwork, 29, 29, 102, 107–8, 108, 251n129

closed under Rafael Caldera government, 209

curriculum, 108, 111–14, 116, 251n122, 251nn127–28

Fuller’s visit to, 248n57

Gego as instructor, 17–18, 49, 64, 71, 78, 102, 111–18, 113, 148, 154, 251n122, 251nn127–28, 254n22

renamed and relocated, 33

Visionary Architecture exhibition, 186, 186

workshops, 119, 129

faktura, 106, 111. See also texture, Arroyo and

Fernandez Shaw, Daniel, 187, 187.

See also Parque Central; Siso, Shaw, and Associates

fiber arts, 73–74, 85, 88, 93–94.

See also art fabric; Constantine, Mildred; knitting; textiles; wall hangings; weaving; specific artists

Figarella, Mariana, 227

Figueroa, Federico Brito, 3

Fine, Ruth, 175

First International Exhibition of Abstract Art (1952), 27, 240n44

Fischer, Theodor, 16, 56–57, 99

Fishman, Sterling, 249n70, 249n72

Flechas (Gego, 1968), 101–2, 225

fluids and fluidity, 200, 202, 205–7, 259n181. See also Chorros

Fontanillas, Gabriela, 131, 132, 133–36, 223, 224, 227

photographs of Gego’s work, 77, 131, 133

form, 6, 9, 149. See also good form; Gute Form

Formas Tejidas (exhibition, 1963). See Woven Forms

Forma Veinte (Form Twenty), 30–31, 109–10, 118–20, 122, 126, 207, 220

Forme, Die, 99

Franciscono, Marcel, 101, 249n76, 249n87

Frank, Waldo, 221

Frankl, Paul, 245n144

Free-Hanging Room Divider (A. Albers, 1949), 141, 142

Freire, Paulo, 221

Froebel, Friedrich, and Froebel method, 95, 97–98, 234

Froebel, Karl and Johanna, 95

Fuenmayor, Jesús, 1, 258n120

Fuller, Buckminster, 94, 207, 210, 248n57

Fundación Gego, 225, 248n32

Fundación Neumann, 83, 248nn31–32, 260n189. See also Instituto de Diseño Fundación Neumann

furniture, 101, 101, 118, 119, 120–21. See also Muebles Gunz; Tecoteca Muebles

Gabo, Naum, 89

Galería Conkright, 165, 227, 252n159

Chorros installation, 201, 202, 204, 233, 259n167, 259n171

Galería Cuatro Muros, 27–28, 110–11, 121, 241n40

Galería de Arte Nacional, Reticulárea (1981) installation, 130, 130, 135, 252–53n167, 253n169, 253n171, 262n24. See also Reticulárea (1981)

Gallegos, Rómulo, 24, 33, 240n26

Gasparini, Graziano, 198–99, 199

Gasparini, Paolo, 40, 91, 93, 133, 165, 255n45

photographs of Gego’s work, 2, 92, 133, 134, 165, 166, 201, 203, 206, 208, 214

Gato (design store), 59

Gaudí, Antoni, 243n84

Gego: artworks acquired by, 80, 247n29

autobiographical statement, 95–96, 101, 179, 249n61, 249n67, 249n73, 249n84, 255–56n76

birth family, 52, 97 (see also specific individuals)

birth name, 179

Caracas apartment, 225, 226

Caracas house (Qta. Urape), 15–16, 16, 19, 19, 49, 59

childhood and teens, 52–53, 53, 54, 95, 96, 245n143

children, 15, 59 (see also Gunz, Barbara)

chronology written, 50

citizenship, 61, 179

in Cruz-Diez’s film, 48–49, 48, 51–52

departure from Germany, 16, 54

early years in Venezuela, 20, 58–60, 88

entrenchment into domesticity, 75

experiences of marginality, 54, 57–59, 88

health, 137, 230, 253n177

language use, 7, 88, 179, 200–202

library (books), 78, 212, 213–14, 248n57, 256n92

logo, 91

marriage, 59, 61 (see also Gunz, Ernst)

in New York, 89, 247n22 (see also Parsons, Betty; Reticulárea)

relationship with Leufert, 11, 60, 61, 88, 215 (see also Leufert, Gerd)

in Tarma, 60, 61, 88, 104, 147, 170, 220

trip to U.S. (1946), 247n17. See also Gego, education and training of; Gego as instructor; Gego’s work; specific individuals

Gego (film, by Grupo Cobalto, 1969), 127–28, 127

Gego (Ossott; 1977 exhibition catalog), 145, 202, 244n132

on articulations, 132, 132, 138, 152

on the Chorros, 204

on Cuerdas, 196

on curvatures, 258n143

designed by Sotillo, 132, 132, 254n24

Dibujos sin Papel in, 225

on the Esferas, 212

on kinetic effect of Gego’s works, 70

paper works not included, 145, 154

Reticulárea discussed, depicted, 128, 132, 132, 136, 227

on shadows, 262n21

structural system developed to describe works, 154, 158

on the Troncos, 212

on works using parallel lines, 158, 182

Gego, education and training of: cultural milieu, 52–58, 95–99, 101, 249n73 (see also Bauhaus; Germany; Werkbund)

decorative painting internship, 246n169, 249n88

pedagogical studies, 78, 112

primary and secondary education, 95–99, 96, 132, 249n67

printmaking, 174–75

training as architect/engineer, 15–16, 53, 54–58, 71, 78, 85, 99–100, 245n167, 246n169 (see also Technische Hochschule)

training in crafts and production, 249n73

Gego: Anudamientos (Sotillo and Fontanillas), 77, 130–31, 131, 133

Gego as instructor: adapting to educational milieu, 102

on doing, understanding, and knowing, 102

at the IDD, 7, 81, 83, 154, 207–10, 225, 254n22, 260n189, 260n191, 260n195, 261n213, 262n15

parallel hatching techniques taught, 255n55

pedagogical approach, 112–18, 148, 149–50, 154, 225–26, 251–52n136

pedagogical research, 256n92

at the school of architecture, 17–18, 49, 64, 71, 78, 102, 111–18, 113, 148, 154, 251n122, 251nn127–28, 254n22

at the school of fine and applied arts, 104

studies in geometry, 7, 210, 216, 261n213

teaching notes, 150–51, 150, 153–54, 254n22

Gego: Between Transparency and the Invisible (Ramírez), 154

Gego’s work: ad-hocism of, 7, 13, 219, 224, 230, 234, 237

art/inscription as doing, 146

artist mistaken for male, 259n172

bicho used to describe, 88

in Cruz-Diez’s film, 48–49, 48, 51–52

departure from space, 68

displacement of supports, 9, 76, 83, 89, 167, 177, 227

documentation of, 48–52

Erminy on, 70

and exhibit honoring Soto, 63

exile and precarity reflected, 59, 61, 141, 162–63, 179–80

furniture, 59–60, 101, 101, 119, 246n181 (see also Muebles Gunz)

Gego attentive to dissemination of, 91

Gego on being an artist, 211

Gego on her process, 219, 225–26, 230

Gego on intercrossing fields, 100, 102

Gego on use of wire, 76

Gego’s answers for Constantine-Larsen survey, 75–76, 84, 85, 94, 140

Gego’s attitude toward making, 76, 94–95

Gego’s geometries, 7, 13, 37, 48–50, 64, 68, 70, 87, 136, 156, 158–59, 162, 200, 206–7, 210–17, 225

hand-made process preferred, 76, 169–70, 225–26, 237, 247n10

home-based workshop, 117, 225–27

houses designed, 59 (see also Quinta El Urape)

intercrossings of genres, materials, techniques, 84–85

kineticism a result, not a goal, 70

logbooks, 88, 89

Manrique’s chronology, 154, 158–60

messiness, 128, 136, 143, 207, 227

Möbius strip, 68 (see also Vibración en negro)

network paradigm, 149 (see also network[s])

and parallax, 49–50, 70 (see also parallax)

photographs of Gego at work, 72, 86, 92, 117, 129, 137, 169, 226

recognition of generative structure, 70

relational paradigm, 219

relationship with Tarma, 223 (see also Arte y Vida)

residual materials used, 4, 7, 8, 13, 131, 217, 223, 225, 227, 230–37 (see also specific works and groups of works)

rugs, 81–83, 82

scale, 84

“sculpture” term rejected, 88

strategies of displacement and dispersion, 178–80

at the Technische Hochschule, 57, 57

transition into three-dimensional realm, 64

understood in structural terms, 78

words explored in Sabiduras, 179. See also bichos; books by Gego; Chorros; Cuerdas; Dibujos sin Papel; drawings by Gego; Esferas; line; paper, Gego’s works on; printmaking; reticuláreas; retrospective Gego exhibit; Tejeduras; Troncos; specific works and exhibits

gender, Irigaray on, 178, 180, 255n74, 256n79

geodesic domes, 207, 215, 248n57. See also Fuller, Buckminster

geometry: Froebel method and geometric shapes, 97–98

Gego’s study/ teaching of, 7, 113, 207–8, 210, 216, 261n213

Gego’s works and, 7, 13, 37, 48–50, 64, 68, 70, 87, 136, 156, 158–59, 162, 200, 206–7, 210–17, 225 (see also specific works and categories of works)

geometric abstraction, 27–28, 32–33, 37, 63, 64, 70, 78, 85, 88, 94, 106, 120, 122, 126, 205 (see also abstraction; Disidentes, Los; specific artists)

geometric forms in modern design philosophy, 101

Hilbert and, 71

Imagen de Caracas and, 192

Lynn on ideal vs. eidetic forms, 216

organic forms and, 212–16, 261n221, 261n224 (see also Thompson, D’Arcy)

as tool to organize space, 210–12

vs. topology, 217 (see also topology)

woven and fiber artworks and, 80, 83, 93, 140–41. See also line

parallax Germany: architecture and architecture training, 16, 53–58, 99, 245n149 (see also Bauhaus; Technische Hochschule; Werkbund)

Nazism and anti-Semitism, 16, 54, 56–57, 99

pedagogy in, 95–99, 249n66 (see also Gego, education and training of)

regionalism in, 16

Siedlung movement, 28

Weimar Germany, 52–53, 54. See also Hamburg; Handwerk; Stuttgart; specific institutions and individuals

gestaltung, 119

Giauque, Elsi, 93, 94

Giedion, Sigfried, 34, 36, 37, 242n73

glass mosaic, 28, 29, 38, 66, 66, 125–26. See also Cristanac

Glissant, Édouard, 9, 219

Goldschmidt, Adolph (Gego’s uncle), 52, 53, 59, 245n144, 245n146

Goldschmidt, Gertrud Louise. See Gego; Gego, education and training of; Gego as instructor; Gego’s work

Goldschmidt, Hanna (Gego’s sister), 95, 96, 97

Goldschmidt, Martin E. (Gego’s brother), 245n143

Goldston, Bill, 172

Gómez-Sicre, José, 24

González, Julio, 34

González, Lorenzo, 251n125

Gonzalez Almeida, R., 114, 251n128

González Bogen, Carlos, 27–28, 32–33, 32, 63–66, 65, 102, 119, 241n40, 251n127

Gonzalez Leon, Adriano, 257n116

González Viso, Ivan, 256n94

good form, 113, 119–21, 252n150, 261n244. See also Gute Form

Graffe, Tito, 127. See also Grupo Cobalto, film by

Gramko, Elsa, 70, 246n192

Granados, Antonio, 251n127

Grelier, Joseph, 114, 115

Gris, Juan, 107

Gropius, Walter, 55, 58, 99, 101, 249n87, 251n125. See also Bauhaus

Grossen, Françoise, 87, 87

Groupe Espace, 34

Grupo Cobalto, film by, 127–28, 127

Guattari, Félix, 180

Guevara, Roberto, 193, 194, 198, 199, 212, 257n120, 260n189, 260n204

Guevara Moreno, Luis, 24

Guillent Pérez, J. R., 25

Gunz, Barbara (daughter of Gego), 59, 247n29

Gunz, Ernst (husband of Gego), 15, 59, 61

Gunz, Tomás (son of Gego), 59

Guri Dam, 198–200, 200

Gute Form (concept and exhibit), 119, 120, 252n150, 261n244. See also good form

Habasque, Guy, 43

Haeckel, Ernst, 213

Hamburg, 52–54, 95–97, 245n141, 245nn155–56

Handwerk, 118–19. See also artisanal modes of production; craft(s)

handwork. See artisanal modes of production; craft(s); hecho a mano; knitting; mano de obra; weaving

Hatch, Don, 64

Hayles, Katherine, 206, 207, 217, 259n181, 260n185

Hayter, Stanley William, 174, 255n60

hecho a mano, 118, 125. See also craft(s)

Helene Lange Lyceum, 95, 96, 96, 249n67

Herbert, David, 89

Hernández de Lasala, Silvia, 243–44n110

Hersen, Dora, 61

Hesse, Eva, 85, 248n41

Hicks, Sheila, 138, 139, 247n24

Hilbert, David, 71

historicism, 4–5

Hlito, Alfredo, 24

Horizontal Lines (drawing; Gego, 1963), 255n45

housing: Bonatz’s projects, in Germany, 55

in Caracas, 18–19, 28, 35, 121, 185, 187, 240n46, 242–43n80 (see also El Silencio; Parque Central)

IDD. See Instituto de Diseño Fundación Neumann

IDDEAS (magazine), 100, 101–2, 209–11, 209, 213, 219–20

Illich, Ivan, 221, 262n10

Illundain, J., 125, 125

Imagen de Caracas, 188–94, 257nn115–16, 257–58n120, 258n124, 258n129, 258n133, 258n136

Dispositivo ciudad (Device City; shed), 189–91, 190, 198

Zona Feérica, 188, 192–94, 258n120, 258n122, 258n124, 258n126, 258n129, 258n131

in-between spaces, 6–7

Cuerdas and, 184, 194–96

Gego’s inhabiting of, 59, 61

in Gego’s mid-1960s sculptures, 156, 157

Gego’s practice operated in-between, 85

historical time and, 217, 237

Irigaray and, 179, 205

in-between lines, 146, 147–48, 153, 159–60, 165–67, 170–71, 176

printing and, 170–71

between sculpture and fabric art, 91–93 (see also weaving)

Traba on, 202

woven by Gego’s work, 11, 12, 76, 85, 145, 237

INCE, 250n98, 260n189

Indefinido y Modificable (Triptico) (Undefined and Modifiable [Triptych]) (Arroyo), 108, 108

indigenous peoples and crafts, 3–4, 61–63, 79, 109–11, 114–15, 120, 122, 234, 250n98, 262n37. See also artisanal modes of production; craft(s); mestizaje

industrial artisans. See artisanal modes of production

inflection, 195–96

Ingold, Tim, 127, 145, 162–64, 177

Instituto de Diseño Fundación Neumann (IDD), 207–8, 209, 260nn189–90

and Arte y Vida, 13, 220, 222 (see also Arte y Vida)

curriculum, 154, 208–10, 260n191, 260n195, 261n213

founders, 7, 81, 83

Gego as instructor, 7, 13, 81, 83, 154, 207–10, 225, 254n22, 260n189, 260n191, 260n195, 261n213, 262n15

IDDEAS (magazine), 100, 101–2, 209–11, 209, 213, 219–20

other instructors, 209, 225, 260n189

weaving workshop, 83

workshop seminars, 129

Instituto de la Ciudad Universitaria, 39, 46, 242n67. See also Ciudad Universitaria de Caracas

Instituto Nacional de Cooperación Educativa (INCE), 250n98, 260n189

Integral (magazine), 12, 32, 63, 111, 242n65

advertisements, 64–65, 65, 125

articles, 65, 65, 70–71, 102–3

covers, 28, 32, 64

editor, 33, 61

Invisible Dog or Bicho (Gego, 1965), 224, 227

Irigaray, Luce, 178–80, 198, 205–6, 255n74, 256n79, 259n177

Itten, Johannes, 98, 101, 249n76

Jaimes Sánchez, Humberto, 209, 260n191

Japanese Metabolists, 184, 257n101

Jarron, Matthew, 261n207, 261n212, 261n221

Jiménez, Ariel, 48

Johns, Jasper, 169

José Ángel Lamas Amphitheater. See Anfiteatro José Ángel Lamas

Judd, Donald, 74, 248n41

Junta Militar, 28

Kay, Carolyn, 97, 249n73

Kerschensteiner, Georg, 99

Kikutake, Kiyonori, 186

Kindergärten movement, 95, 97–98

Kinetic art (kineticism): Gego’s work and, 48–50, 70, 205, 259n175

Moholy-Nagy’s work, 43, 50–51 (see also Moholy-Nagy, László)

Soto and parallax, 47–48, 47, 70–71 (see also Soto, Jésus)

in Venezuela, 156, 192. See also specific artists and works

Klee, Paul, 83, 138, 148–49, 212

knitting, 128, 252n163

Knodel, Gerhardt, 140–41, 141, 253nn189–90

knotting techniques, 13, 94, 128, 131–32. See also anudamientos; reticuláreas; specific reticuláreas

Koch, Rudolph, 234

Koifman, Jacobo, 186

Kramer, Hilton, 259n172

Lacan, Jacques, 255n74, 259n177

Lacasa, Luis, 34, 35

Lane, Barbara Miller, 53, 99

Lange, Helene, 95–96

Lange, John, 220, 260n189, 260n191

language, Gego’s use of, 7, 88, 179, 200–202

Largo Caballero, Francisco, 34

Larrañaga, Enrique, 39, 240nn6–7

Larsen, Jack Lenor, 73, 79, 83, 86–89, 136, 253n189, 253n191

Beyond Craft: The Art Fabric, 73–74, 75, 85, 93–94, 138

questionnaire, 73, 74, 75–76, 84, 85, 88

on Reticulárea, 247n22

reticuláreas seen as studio craft, 118

Wall Hangings (exhibition and book), 74, 75, 80, 85

Lasansky, Mauricio, 174–75

Latin America: New Paintings and Sculpture: Downey, Gego, Morera and Fernández (exhibition, N.Y., 1969–70), 76, 86–87, 248n44

Latour, Bruno, 223, 254n5

Laurens, Henri, 36, 138

Lausanne tapestry biennial, 138

Le Corbusier, 36–37, 39, 55, 242n78, 243n101, 251n125

Ledezma, Juan, 28–29, 30

Lefebvre, Henri, 163, 221

Le Feuvre, Lisa, 212

Léger, Fernand, 18, 34, 36, 38, 138, 242n73, 242n78

Le Ricolais, Robert, 210

Leufert, Gerd: and Arroyo, 63, 247n22

collaborations with Gego, 188, 189, 258n143

and Cruz del Sur, 61, 63

de Amaral work acquired, 80

Erminy on, 70

exhibitions of his work, 246n192, 259n168

Gego introduced to printmaking, 175

and the Gego retrospective exhibition, 137

Gego’s life with, 11, 60, 61, 88, 215

Gego’s logo designed, 91

and Gego’s workshop, 225

and the IDD, 81, 208, 260n189, 260n191

and Imagen de Caracas, 189

influence on Gego, 64

at MACC (1977), 215, 215

and the Museo de Bellas Artes, 175, 234

in New York, 89

norms of geometricism not followed, 70

and printmaking, 170, 173–75

Reticulárea brochure designed, 92

specialization avoided, 119

in Tarma, 60, 61, 147, 220

at the University of Iowa, 50, 89, 174

Levi, Josef, 47

Levine, Caroline, 7, 239n31

Levine, Emily, 52, 245n141

Levi-Strauss, Claude, 230, 262n32

Lichtspiel: Schwarz, weiss, grau (film), 51

Lichtwark, Alfred, 96–97, 99, 249n70, 249n72

Lichtwarschule, 96–97

Light Space Modulor (Light Display Machine) (L. Moholy-Nagy), 43, 50–51, 51, 68

line (lines), 91

in the Dibujos sin Papel, 9, 224–25

drive to destabilize supports, 83 (see also Gego’s work: displacement of supports)

Froebel method and, 97–98

Gego’s approach to, 7, 145–51, 153–54, 162–65, 167, 227, 254n198

in Gego’s artist’s books, 177–78, 178, 180–81, 181

Gego’s definition of, 150

as Gego’s departing point, 76

in Gego’s prints, 167, 168, 169–75 (see also printmaking)

Gego’s sustained exploration of, 12, 71, 145, 217, 227

Gego’s teaching on, 148, 150–51, 150, 153–54

Ingold on, 162–64

interrelationship of drawings and 3-dimensional works, 76

Klee on, 148–49

in-between lines, 146, 147–48, 153, 159–60, 165–67, 170–71, 176 (see also in-between spaces)

in Little Black Poem, 177–78, 178

as medium and mediation, 12, 145

multivalent identity of, 12, 145

in Pape’s woodcuts, 175

parallel lines in Gego’s works, 154–62, 156–66, 164–65, 171, 171, 182, 202, 203, 254–55n31 (see also Cuerdas; parallax)

Rodchenko on, 157–58

ruptures/gaps, 158–60, 158

shifts in thickness/ volume, 157–58, 158

topological treatment, 76, 91, 145–47

twisted or frazzled, 227–28, 228

wire as, 76. See also Chorros; Cuerdas; Dibujos sin Papel; drawings by Gego; reticuláreas

“Line, The” (Rodchenko), 157–58

Líneas (Gego), 131

Líneas coloreadas sobre fondo blanco (Colored Lines over White Background) (Otero), 26, 26–27

Líneas–Conjunto (Lines–Grouping) (Gego, 1969), 165, 166, 231

Line as Object (2014 exhibition, Leeds), 212

“Líneas y entrelíneas” (“Lines and In-between Lines”; exhibition), 176

Lines (book of lithographs; Gego), 167–70, 168, 169

Lippold, Richard, 94

Little Black Poem (Gego, 1961), 177–78, 178

Lluberes, Pedro, 70–71

Lobo, Baltasar, 36

logbooks (Gego), 88, 89

Loop (L. Moholy-Nagy), 50

Loos, Adolf, 106

López Villa, Manuel, 20, 28, 241n46

Los Disidentes. See Disidentes, Los

Lozada Domínguez, Ramón, 32

Lucretius, 206–7, 215

Lugo, Tomás, 188

Luhmann, Niklas, 5–6, 7, 9

Lurçat, Jean, 138

Luz Tavora, Maria Luisa, 175

Lynn, Greg, 216

MACC. See Museo de Arte Contemporáneo de Caracas

Madrigal, Lucia, 83

Madriz, Argenis, 30, 109, 209, 220, 260n189

Mahlow, Dietrich, 253n167

Malaussena, Luis, 35

Malevich, Kazimir, 32, 111

Manaure, Mateo, 25, 38, 107, 251n118

art and design, 18, 28, 37–38, 66

exhibitions, 241n30, 246n192, 246n194

gallery founded, 27, 241n40 (see also Galería Cuatro Muros); on the school of fine arts, 24

“Sintesis de las Artes Mayores,” 242n67 (see also “Sintesis de las Artes Mayores”)

Mancilla, Pedro, 210

Mandelbrot, Benoit, 260n185

mano de obra, 118, 125. See also artisanal modes of production

Manrique, Josefina, 154, 158–60

Maracaibo, 35

Margarethe Mittell school, 95, 96

Mariátegui, José Carlos, 221

Márquez Salas, Antonio, 220

Marrosu, Ambretta, 246n190

Marx, Karl, 128

mathematics: Gego’s interest in, 207, 210

nonlinear, 217, 259n181, 260n185 (see also Hayles, Katherine). See also geometry

Matisse, Henri, 27, 83

May, Roland, 57–58, 246n171

Mayer, Francizka, 247n17

Mayer, Hannes, 55

Mayhall, Marguerite Katherine, 258n120, 258n129

Mbembe, Achille, 6, 9–11

Medina Angarita, Isaías, 20, 33

medium, in Luhman’s thought, 6, 9

Mele, Juan, 24

Mendoza, Benjamin and Sara, 30, 109, 241n54

Menéndez, José Miguel, 185–86, 185

Meneses, Guillermo, 260n189, 260n191

Merchán, Cristina, 30, 105, 109

messiness, 128, 136, 143, 207, 227, 237, 259n181

mestizaje, 111

Metabolism, Japanese, 186, 256n96, 257n101. See also Tange, Kenzo

Metal Alive: A Sculpture by Gego (film; Raynor), 50, 50, 51–52

Meyer, C. Aug., 246n169

Meyer, Erna, 245n153

Meyer, Hannes, 55

Mieres, Francisco, 20, 22

Mies van der Rohe, Ludwig, 55, 99

Miller, J. Abbot, 249n70

Mimó Mena, José, 24

mining, 64. See also steel industry

Miró, Joan, 34, 138, 242n78

Möbius strip, 68, 145–46, 215. See also Vibración en negro

modernism, 28, 147. See also abstraction; specific artists, architects, works, and publications

modernity: abstraction and, 25–26 (see also abstraction)

alterity constitutive of, 5

Chakrabarty on political modernity, 4–5

identity, otherness, and, 179

in Luhman’s thought, 5–6

Venezuelan modernity, 3–5, 7, 9, 18, 114–15, 240n20, 252n158. See also Caracas: modernization, urbanization, development; Venezuela: modernization and urbanization

modularity, 61–63

Moholy-Nagy, László, 43, 50–51, 68, 78, 98, 101

Moholy-Nagy, Sibyl, 39, 50, 244n135, 248n52, 256n92

monotypes (Gego), 170–73, 170–74

Monsanto, Antonio Edmundo, 24, 102, 103, 104–5, 240n26. See also Escuela de Bellas Artes y Artes Aplicadas

monte (term), 207

monumentality, 34, 50, 58, 88, 184–85, 198–200, 200, 205, 242n74. See also Parque Central

Moore, Henry, 68

Morollón advertisement, 66–68

Morris, Robert, 85

Mouvement, Le (exhibition), 47–48

Movement and Vibration in Space: Sculpture by Gego (film; Cruz-Diez), 48–50, 48, 51–52

Muebles Gunz (furniture workshop), 59, 60, 75, 118, 119

Mujica, Jesús, 127. See also Grupo Cobalto, film by

Mumford, Lewis, 242n74

Mural (Manaure), 37

murals: at the CUC (generally), 29–30, 37, 107–8, 108, 243n97

in the Plaza Cubierta, 33, 36–39, 38, 43, 66, 243nn96–97 (see also Positivo/Negativo). See also Otero, Alejandro

Museo de Arte Contemporáneo de Caracas (MACC), 188

Chorros installation, 200, 202, 203, 205–6, 259n167

Cuerdas and, 188, 202, 203. See also retrospective Gego exhibit

Museo de Bellas Artes (Caracas), 61, 252n159, 252–53n167

architecture conference (1963), 40

Arroyo as director, 78, 247n19, 247n28, 248n38 (see also Arroyo, Miguel)

craft exhibitions, 250n98

dissident critique of, 26

Exposición Panamericana de Pintura Moderna, 24, 240–41n29

Formas Tejidas exhibition, 79–80, 79, 247n20

Gego’s prints and drawings exhibited, 170, 176

and Otero’s works, 24, 194

and printmaking, 175

publications used in Tejeduras, 231, 231, 232, 234

Reticulárea installation, 2, 73, 89–93, 90–92, 134, 252–53n167

Tapices de Olga de Amaral exhibition, 80, 80, 81, 247nn27–29

Museum of Contemporary Crafts (N.Y.), 79

Museum of Modern Art (N.Y.), 26, 50, 74, 86, 141, 175, 240–41n29, 248n57, 262n37

Muthesius, Stefan, 119

Myers, David, 256n97

Nacional, El, 64, 138, 192, 257–58n120, 259n171

Narváez, Francisco, 102

nature: and creativity, design, and production, 219–23

and geometry, 212–16, 261n221, 261n224 (see also Thompson, D’Arcy)

Navarro, Pascual, 26, 37, 66

Nazoa, Aníbal, 23

Nazoa, Aquiles, 33, 186

“Need for a New Monumentality, The” (Giedion), 34

Neo-Plasticism, 34

Neruda, Pablo, 258n135

nets, 5–6, 11, 131, 215, 223. See also anudamientos; network(s); reticuláreas

network(s), 6–7, 149, 215, 217. See also nets

Neuberger, Pedro, 63

Neues Bauen (New Architecture) movement, 53–55, 58, 245n149

“Neue Wohnung, Die—Die Frau als Schopferin” (The New Apartment—Woman as Creator) (Taut), 54, 245n153

Neuman, Johann Balthazar, 40

Neumann, Hans, 81, 248n32, 260n189. See also Instituto de Diseño Fundación Neumann

Nevelson, Louise, 89

“new,” in Weimar Germany, 54, 245n153

Newman, Robert, 45–46, 244n121

Niemeyer, Oscar, 184, 244n110, 252n157

“Nine Points on Monumentality” (Giedion, Sert, and Léger), 34, 242n73

nonlinear mathematics, 217, 259n181, 260n185. See also Hayles, Katherine

Noria Hidrocromática, La (Hydrocromatic Waterwheel) (Otero and Pardo), 193–94, 193

Nubes (Clouds; Calder), 44–46, 44, 45

Nubes—Red Ambiental (Clouds—Environmental Net) (Gego, 1974), 225

Nuevo Ideal Nacional, 22, 22, 28. See also Pérez Jiménez, Marcos

Núñez, Josefina, 148

Ocho Cuadrados (Gego, 1961), 156

oil (petroleum); and construction boom, 30, 184, 186 (see also construction industry)

cultura del petróleo, 2–3, 20, 120

oil industry, 20, 22, 64, 120, 122, 126, 128, 220–21

prices, 217, 261n227

Olivieri, Ligia, 188, 258n122

One Suspended Line (assemblage; Gego, 1968), 255n45

On Growth and Form (Thompson), 13, 209–10, 212–16, 260–61n206, 261n221, 261n224. See also Thompson, D’Arcy

On Weaving (A. Albers), 76–78, 138–40, 142–43. See also Albers, Anni

organic forms, 212–16, 261n212

Ossott, Hanni: on the artist in the work, 15

catalogue/book written, 132, 132, 145, 202, 244n132 (see also Gego [Ossott])

on Cuerdas, 196

on curvatures, 258n143

on the Esferas, 212

on “flexible articulation,” 138

on Gego’s drawings without paper, 225

and the IDD, 260n189

on kineticism and Gego’s art, 70

on learning and assimilation, 52

on the Reticulárea, 128

on shadows in Gego’s work, 262n21

structural system devised, with Gego, 154, 158, 182

on the structures of the organic form, 212

on the Troncos, 212

Ossott, Johann, 209

OTEPAL, 174

Otero, Alejandro, 24–25, 124, 241n58

on abstraction, 25, 29, 64

advertising designs, 66

and artisanal modes of production, 38

Blackmore’s phrasing compared to, 200

blankets designed, 31, 110, 251n117

“coffeepots,” 24, 26–27, 27

Coloritmos (1955–71), 23–24, 23, 30

at El Toronjil, 30, 30

and Forma Veinte, 30–31, 109–10, 120

Gego’s work as counterpoint to, 259n175

and Imagen de Caracas, 188, 192–94, 198, 257–58n120, 258n122, 258n126, 258n129, 258n135

influence on Gego, 64, 102

influences on, 29, 59, 63, 107

Líneas coloreadas sobre fondo blanco, 26–27, 26

and Louisa Palacios, 174

and magazines, 25, 31, 66

murals, 24, 29–30, 122–25, 123–25, 241n58

La Noria Hidrocromática, 193–94, 193

in Paris, 38

Perceven screen, 11, 23–24, 23, 122

Pineda’s article on, 192, 258n124, 258n126

polychrome façades, 28–29, 29

problem/solution computational paradigm, 194, 196

on realism, 25

and the school of fine and applied arts, 24, 64, 102

unnamed works exhibited, 241n29, 246n192, 246n194

works for CUC’s engineering school, 241n58

writings, 25

Otero Silva, Miguel, 64, 65

Oteyza, Amalia, 174

Otto, Frei, 210, 213

Oud, J. J. P., 55

Palacios, Gonzalo, 173–74, 255n58. See also Taller de la Nena Palacios

Palacios, Inocente, 122, 189, 191, 193, 252n157, 257n116, 258n124, 258n131

Palacios, Luisa, 104, 173–74, 175, 255n58, 255n60, 260n189

Palacios, Maria Fernanda, 100, 102, 119, 173–75, 210, 212

Panofsky, Erwin, 52, 59, 68, 245n142, 245n144

Pantin, José Antonio, 188

Pape, Lygia, 175–76, 176

paper, drawings without. See Dibujos sin Papel

paper, Gego’s works on: artist’s books, 177–78, 178, 180–81, 181

black monochrome on paper (1957), 155, 155

exhibitions, 170, 176

ignored in Ossott’s book, 145, 154

Klee’s influence on, 148–49

Larsen taken with, 247n22

paper weaving, 76, 227, 230–37 (see also Tejeduras)

parallel lines in, 154–62, 155, 156, 158–64, 164–65, 168, 171, 171, 255n31

performative nature of, 147–48, 152

printmaking, 167–73, 168, 169, 171–74, 175–76, 227, 255n45, 255n49

watercolor on matboard (1957), 155, 155. See also drawings by Gego; line

Paraiso, El, 28, 29

parallax, 12, 36

Collins on, 37, 40, 47

etymology, 58

Gego’s art and, 49–50, 70

kineticism and, 71

in relation to Gego’s adaptations, 58–59

shifts in perspective through, 36, 91, 114

Soto and, 47–48, 47, 70–71

and Venezuelan modernity, 18

and Villanueva’s campus, 36–38, 44, 114

“Parallax” (Collins), 37, 40, 47

parallel lines: Erminy’s reference to, 70

in Gego’s works, 49–50, 154–62, 156–66, 164–65, 168, 171, 171, 182, 202, 203, 255n31 (see also Cuerdas). See also parallax

Pardo, Mercedes, 30, 70, 109, 188, 258n122

La Noria Hidrocromática, 193–94, 193

Paris Exposition (1937), 34–35

Parque Central, 183–85, 187–88, 196–98, 257n106, 257n111

photographs, 144, 182, 183, 187, 195. See also Cuerdas

Parra Villani, Carmen, 103–4

Parsons, Betty, and Parsons Gallery, 89, 138, 204, 259nn167–68, 259n171

partiendo (term), 244n130

Partiendo de un cuadrado (Departing from a Square) (Gego, 1958), 48–49, 68

Partiendo de un rectangulo II (Departing from a Rectangle II) (Gego, 1958), 49–50, 50

Partiendo de un rombo (Departing from a Rhombus) (Gego, 1958), 49–50, 50

patios, 35–36, 240n7. See also Plaza Cubierta

Peacock, Alexander, 261n212

Pedemonte, Max, 256n94

Pedrosa, Mario, 4

Pequeña Estructura Blanca (Little White Structure) (Gego, 1967), 165, 167

Pequeño poema negro (Little Black Poem) (Gego, 1961), 177–78, 178

Perceven screen (Otero), 11, 23–24, 122

Pérez, Régulo, 24

Pérez Jiménez, Marcos, 20, 22, 24, 28, 33, 64, 110, 242n68

Pérez Oramas, Luis Enrique, 225, 259n175

Pérez Vila, Manuel, 250–51n114

Perro Amarrado (Knotted Dog; Gego), 227

Pestalozzi, Johann Heinrich, 95, 96

Petherbridge, Deanna, 147

petroleum. See oil

Pevsner, Antoine, 36

Piaroas tribe, 114

Picasso, Pablo, 26–27, 34, 107, 138, 242n78

Pictorial Weavings (A. Albers), 78, 78. See also Albers, Anni

Pineda, Rafael, 192, 258n124, 258n126

Pizani, Rafael, 103

“Plastic Elements Used to Protect Against Sun and Rain” (Villanueva), 18, 18

Plaza Cubierta (CUC; Villanueva, arch.), 18, 33, 35, 36–44, 46–47, 66, 243n85, 243nn96–97

photographs, 33, 38, 41–43

plan, 39, 39. See also Aula Magna; Ciudad Universitaria de Caracas

“Pliable Plane, The: Textiles in Architecture” (A. Albers), 77–78

Poleo, Héctor, 24, 241n29

polychromy, 28–29, 29, 34, 38. See also glass mosaic

polytechnics, in Germany, 56. See also Technische Hochschule

Ponti, Gio, 192

Posani, Juan Pedro, 23, 32, 246n190

Dispositivo ciudad (“shed”), 189–91, 190, 197, 198, 199

Morollón ad, 66–68

on urban architecture, 22, 197–98

Positivo/Negativo (Vasarely), 43, 43, 67, 68

Pote blanco y la pala marrón, El (Otero), 27, 27, 240n43

Prati, Lidy, 24

Price, Cedric, 184

Prigogine, Ilya, 206–7

printmaking: Gego’s printmaking, 167–73, 168, 169, 171–74, 175–76, 227, 255n45, 255n49

Pape’s woodcuts, 175–76, 176

Provincializing Europe (Chakrabarty), 4

Puerto Ordaz, 35

Punto (magazine), 12, 36, 186

Pure Spatial Element (Giauque, 1968–69), 93, 94

Quevedo, Judith, 83

Quinta El Urape (Gego residence), 15–16, 16, 19, 19, 49, 59

Radiolaria, 213, 216, 261n221, 261n224

Ramírez, Mari Carmen, 154

Rangel, Gabriela, 86, 258n129

Rasch, Bodo, 246n169, 246n183

Rattner, Ruth, 50–51

Raynor, Richard, 50, 50, 51

Read, Herbert, 221

recycling, 220, 227–30, 234. See also residual materials; Tejeduras

regionalism, 16, 107, 108

Reisinger, Stefanie, 246n183, 249n88

Relaciones y contrastes en la pintura Venezolana (exhibition, 1975), 253n167

Renau, Josep, 35

René, Denise, and gallery, 47–48

Rengifo, César, 24

residual materials: collected by students, 222

Gego’s use of, 4, 7, 8, 13, 131, 217, 223, 225, 227, 230–37 (see also specific works and groups of works)

Reverón’s use of, 111

Reticulárea (Gego, 1969), 1–2, 12, 216

appliqués, 88

artist’s body and, 137–38

brochure, 89–93, 92, 248n57

Chorros and, 204–5

“columns” of, 79

connections (linking structures), 127–28, 127, 130, 132, 132, 133, 136–37, 227

Constantine and Larsen’s reactions, 76, 93–94, 247n22

construction methods, 94, 130–31

Cuerdas contrasted with, 194

film of, 127–28, 127

fragility, 136, 137, 253n175

impact on Gego’s later work, 7

materials, 130, 136

Museo de Bellas Artes installation, 2, 73, 89–93, 90–92, 134, 252–53n167

notes for, 152–53, 179, 180

N.Y. installation, 86–89, 86, 87, 248n47, 248n52

in Ossott’s book, 128, 132, 132, 136, 227

as response to mobile architectures, 184

Reticulárea (1975) contrasted with, 141

as “rhizome,” 180, 212, 256n82

scale, 84

sketches, 87, 90, 91, 91, 248n47

strategies of displacement and dispersion, 178–80

structure and lack of homogeneity, 4

as turning point, 223. See also Reticulárea (Gego, 1981)

Reticulárea (Gego; Lausanne, 1975); reticuláreas

Reticulárea (Gego, 1981), 130, 130, 132–33, 135–37, 135–37, 252–53n167, 253n169, 253n171, 262n24. See also reticuláreas

Reticulárea (Gego; Frankfurt, 1982), 253n167, 253n169

Reticulárea (Gego; Lausanne, 1975), 138–43, 139, 143, 253n180, 254n198

Reticulárea cuadrada 71/5 (Square Reticulárea 71/5) (Gego, 1971), 214

Reticulárea individual No. 2 (1969), 77

reticuláreas (Gego), 4, 12, 74–75, 83–84, 84, 165–67, 179–78, 254n198

anudamientos (linking/looping techniques), 76, 77, 127–28, 127, 130–38, 131–33, 152, 223–24, 227

carpentry-workshop logic of, 116

Chorros and, 202–4, 204

construction, 7, 76, 87–88, 92, 93–94, 128, 130–31, 136–37, 137

Cuerdas and, 184, 184, 188, 256n88

Gego on disorder of, 143

Gego on intention in making, 212

generation of form, 79

handmade process, 118–19, 128–29

hanging techniques, 87–88, 92, 93

human and cultural context, 120

materials, 129, 132, 138, 140

messiness, 136, 143

network logic of, 77, 85

notes for, 179, 180

organic assessments of, 212, 260n204 (see also rhizome)

photos used in Tejeduras, 231–32, 231–33

reticular drawings, 89–92, 90–92, 151–53, 151–53, 184, 184

Reticuláreas cuadradas (square reticuláreas), 214, 215, 225

reticular grid(s), 76

site specificity, 132

space occupied, 170

terms used to describe, 88

triangular modules, 87

Troncos contrasted with, 211–12

and weaving, 202 (see also weaving)

weaving and, 7, 12, 73, 76, 128, 202

workshop influence on, 118. See also specific reticuláreas

retrospective Gego exhibit (MACC, 1977), 12–13, 146, 200, 205–7

Chorros in, 200, 202, 203, 205–6, 206, 259n167

Esferas in, 203, 206–7, 206, 208

Leufert and, 137, 215, 215

Ossott’s catalogue/book, 70, 132, 132, 145, 202, 244n132 (see also Gego [Ossott])

Traba’s review, 202

Vibración in, 215, 215

Reverón, Armando, 65, 110, 111, 111, 241n29

rhizome, 180, 212, 256n82

Rivas, Jorge, 30, 60, 61, 104, 109, 247n19, 250n101, 252n153

Roberts, Jennifer, 169, 172, 173

Robles, Mario, 257n116

Roche, Luis, 58

Rockefeller family, 20

Rodchenko, Alexander, 157–58

Rodríguez, Simón, 221

Rodríguez Amengual, Gustavo, 187. See also Parque Central

Roffé, Alfredo, 20. See also Cruz del Sur

Roffé, Violeta, 20, 32, 61, 220, 241n64. See also Cruz del Sur

Romero Gutiérrez, Jorge, 32, 63

ropes, 188. See also Cuerdas; Torre Cedíaz

Rosas Vera, José, 256n94

Ross, R., 249n76

Rotary Demisphere (Precision Optics) (Duchamps), 47

Rotival, Maurice, and the Plan Rotival, 185, 256n94

Rotor (Otero), 258n129

rugs by Gego, 81–83, 82

Sabana Grande, 61, 246n187

Sabiduras (Gego), 179

Sala Mendoza, 61, 83, 138, 175, 250n98, 252n159

Gego exhibition catalog, 77, 130–31, 133

Salón Oficial Anual de Arte Venezolano, 104

Samuel, Flora, 36

Samuel, Raphael, 118, 252n143

Sanabria, Edgar, 23

Sanabria, Eduardo, 251n128

Sanabria, Tomás, 251n125

Sánchez, Edgar, 175

Sánchez, Maurice, 168

Sandback, Fred, 167

Santana, Rafael, 130

Sato, Alberto, 197–98, 259n148

Schmitthenner, Paul, 55

School of Architecture and Urban Studies. See Facultad de Arquitectura y Urbanismo

School of Fine and Applied Arts. See Escuela de Bellas Artes y Artes Aplicadas

School of Plastic and Applied Arts. See Escuela de Artes Plásticas y Artes Aplicadas

Schrader-Breymann, Henriette, 95–96

screens: Gego’s window screens, 11, 15, 16, 17, 19, 49, 240n3

Otero’s Perceven screen, 11, 23–24, 122

Villanueva’s concrete block screens, 11, 16–17, 17, 36, 40–43, 41, 42

sculpture: Gego’s rejection of term, 88

Smith Pierce on interaction with, 68–70

weaving, fiber arts, and, 73–74, 94 (see also weaving). See also abstraction; constructivism; Kinetic art; specific artists and works

Sebök, Stefan, 51

Seka (Severin Tudja), 83

Semper, Gottfried, 78

Serie de Siete (Series of Seven) (Gego, 1967), 165, 165

Serres, Michel, 216–17, 223

Sert, Josep Lluís, 34–36, 242n73, 242nn78–80, 244n117, 244n135

Seven Icosidodecahedrons (Gego, 1977), 215

shadows, 224–25

Shales, Ezra, 118

Shaw, Daniel Fernandez. See Fernandez Shaw, Daniel; Siso, Shaw, and Associates

shopping malls, 196–97. See also Parque Central

Sidorkovs, Nikolajs, 188

Siedlung movement, 28

Silencio, El. See El Silencio

simulacrum (term), 197, 259n148

Sink, Charles, 59

“Sintesis de las Artes Mayores” (Villanueva and Manaure; text on Ciudad Universitaria), 39, 39, 242n67

Siso, Henrique, 187, 187. See also Parque Central

Siso, Shaw, and Associates Siso, Shaw, and Associates, 182–83, 254n3, 257n106. See also Cuerdas; Fernandez Shaw, Daniel; Siso, Henrique

sketches by Gego. See drawings by Gego

skyscrapers, 196–97. See also Parque Central

Slutsky, Naum, 100–101, 100

Smith, David, 89

Smith, Paul, 79, 247n22

Smith, T’ai, 77–78, 141

Smith Pierce, James, 47, 68–70

Snelson, Kenneth, 94, 210

Sosa, Pedro, 192, 258n122. See also El Conde

Sotillo, Álvaro, 127, 127, 131, 132, 132, 223, 225, 233, 254n24. See also Gego: Anudamientos; Grupo Cobalto, film by

Soto, Jésus, 12, 63, 198, 244n129, 246n194

Gego and, 64, 68, 70–71, 259n175

works, 47–48, 47, 50, 70, 248n37

Souza, Jorge, 24

Souza, Nélida de, 24

Space, Time and Architecture (Giedion), 37. See also Giedion, Sigfried

Spheres (Gego). See Esferas

Spielraum-Raumspiele (Playroom-Roomplay; exhibition, 1982), 253n167

Spirale (Soto), 47–48, 47

Standard Oil Company, 20. See also oil

Staten, Henry, 226, 237

steel industry, 3, 22, 64, 194

Stengers, Isabelle, 206–7

Stözl, Gunta, 84

structural calculus, 70–71

Structure of Survival, The (exhibition, 2003), 228, 230

Stuttgart, 55–56, 55, 56. See also Technische Hochschule

Sullivan, Megan, 29–30

Suspended Line, A (Gego, 1968), 210

Susse, André, 243n85

systems theory, 5–6. See also Luhmann, Niklas

tactility, 98

Taller de Arquitectura del Banco Obrero (TABO), 28

Taller de Artistas Gráficos Asociados (TAGA), 175, 250n99

Taller de Grabado (Printing Workshop), 250n99

Taller de la Nena Palacios, 173–75, 255n60, 260n189

Talleres Fulop, 64, 65

Talleres Metalurgicos Van Dam, 64

Taller Libre de Arte (Free Art Workshop), 24, 31, 241nn30–31, 241n40

Tamarind Lithography Workshop, 146, 167–69, 169, 175, 176, 177

Tange, Kenzo, 184, 186, 257n101

tapestry art, 138. See also Amaral, Olga de; rugs by Gego; weaving

Tapices de Olga de Amaral (exhibition, 1966), 80, 80, 81, 247nn27–29

Tapiz juego geométrico en colores naturales (de Amaral, 1962), 80

Tapiz rojo y rosado con marco naranja (de Amaral, 1962), 80

Tarma (town): Arte y Vida project, 13, 220–23

Gego in, 60, 61, 88, 104, 147, 170, 220

Taut, Bruno, 54, 55, 245n153

Tawney, Lenore, 79–80, 79, 247n24, 248n38, 254n195

Tecelares (Weavings) (Pape), 175–76, 176

techne (art/craft), 226, 230

technical drawings (Gego), 15, 16, 17, 146–47, 240n3

Technische Hochschule (Stuttgart), 12, 16, 53–58, 99, 245n167, 246n171

Tecoteca Muebles (furniture company), 61, 62, 63, 121–22, 126

Tejeduras (Weavings) (Gego), 7, 13, 76, 227, 230–37

Tejedura 88/8, 231, 231

Tejedura 88/10, 231–32, 232

Tejedura 88/11, 232, 233

Tejedura 89/13, 236, 237

Tejedura 90/27, 234

Tejedura 90/36, 262n37

Tejedura 90/43, 233

Tejedura 90/58, 234, 235

Tenreiro, Oscar, 256n94

tension and compression, 210, 260n193

Tenth Interamerican Conference (1953), 33, 252n68

textiles, 77–78, 80, 84, 107, 110, 141. See also weaving; specific textile artists

texture, Arroyo and, 106–8, 108

Thiel, Christian, 212, 256n82

Thomas, Frederick, 253n180

Thompson, D’Arcy, 9, 13, 209–10, 212–16, 260n193, 260–61n206, 261n207, 261n212, 261n221, 261n224

Three Icosidodecahedrons (Gego, 1977), 215

Three Suspended Lines (assemblage; Gego, 1968), 255n45

Tofano, Tecla, 30, 61, 105, 109, 251n127

Tomba, Massimiliano, 4

topology, 59, 217

Gego’s practice as topological, 216–17

Gego’s topological treatment of line, 76, 91, 145–46, 147, 153, 164–65, 169, 196, 216 (see also line)

historical time as topological, 217, 237

Vibración a symbolization of, 215. See also geometry; Möbius strip

Toro, Elias, 187–88, 196, 209. See also Parque Central

Toronjil, El, 30, 30

Torre Acuática (Otero), 194

Torre Cedíaz (Gego and Leufert, 1967–68), 188, 189, 258n143

Tóth, Edit, 51

Traba, Marta, 202, 205, 212, 213, 259n174

Trapp, Frithjof, 245n147, 249n61, 249n73

Troncos (Gego), 133, 207, 211–14, 216, 225

Tronco No. 5 (1976), 211

Tyler, Kenneth, 175

United States. See oil; U.S. Steel; specific institutions

universalism, 24–25

universality, 4, 9, 111, 197. See also Caracas: modernization, urbanization, development

Universidad Central, 24, 209. See also Ciudad Universitaria de Caracas

University of Berlin, 52, 245n142

University of Iowa, 50, 89, 174–75

Untitled (small steel wire sculpture, c. 1962), 223

untitled works by Gego. See bichos; drawings by Gego; monotypes; paper, Gego’s works on; printmaking

Urbanización Colinas de Bello Monte, 252n157

urbanization, 34. See also Caracas; Venezuela

Urdaneta, Clara, 66, 66

U.S. Steel, 35, 64. See also steel industry

Valera, Victor, 37, 38, 246n194

Vallmitjana, Abel, 174

Vandorpe, Yasmine, 32

Vasarely, Victor, 36, 37, 43, 43, 67, 68

Venezuela: arts education, 102–4 (see also specific institutions)

colonial and neocolonial architecture, 18–20

colonial artisans, 109, 250–51n114

culture, 3, 111

economy and economic policy, 20, 22, 26, 28, 30, 32, 63, 64, 107, 122, 186, 221, 261n225

Guayana region, 64, 198, 259n156

imports/exports, 105, 107, 116, 120–22, 126

industrial development, 3, 20, 118, 119–22, 125–26, 128, 252nn148–49 (see also construction industry; oil)

modernization and urbanization, 3, 20, 22–23

national art forms and industries, 22, 120–21, 125–26

natural resources, 3 (see also oil; steel industry)

neocolonial nationalism, 19–20

Nuevo Ideal Nacional, 22, 28

production structure/modes, 118, 207–8 (see also artisanal modes of production)

Venezuelan modernity, 3–5, 7, 9, 18, 114–15, 240n20, 252n158. See also Caracas; housing; oil; specific locations and institutions

Vera, Leonel, 210, 215, 215, 222, 225, 262n15

Vertical Vibranto oro y plata (Otero), 193–94

Vibración en negro (Vibration in Black) (Gego, 1957), 48–49, 48, 68, 69, 215

Vierzehnheiligen, Basilica of, 40

Vigas, Oswaldo, 37, 38

Villamizar, Arturo, 89

Villanueva, Carlos Raúl: on architecture’s social function, 243n84

and Calder, 35, 45–46, 244n117 (see also Calder, Alexander)

CUC campus designed, 11, 12, 16–18, 17, 29, 33–47, 38–44, 46, 242n67, 243n105

on the CUC murals, 243n97

“Elementos plásticos,” 18, 18

El Paraiso residential building, 28, 29

El Silencio housing complex, 19, 19, 27, 36, 240nn6–7

and A: hombre y expresión, 32

influences on, 40, 244n110

and integration of the arts, 33, 44–45, 59, 147

modern architecture promoted, 23

and the Moholy-Nagys, 50, 244n135

Museo de Bellas Artes building, 252–53n167

and Otero, 24, 29

school of architecture building, 29, 29, 38, 102

“Sintesis de las Artes Mayores,” 39, 39, 242n67

and TABO, 28, 240n46

training, 240n1, 240n6

use of organic forms, 37

Venezuelan Pavilion, Paris Exposition (1937), 35

and Zitman, 121

Villa Savoye (Poissy, France), 36–37

Viollet-le-Duc, Eugène, 36

virtual space. See in-between spaces

Visionary Architecture (exhibition, 1966), 186

Vivas, Fruto, 23, 33, 115, 242n66, 252n157

Volante, Julio César, 122

Vorkurs (basic or foundation course), 78, 98, 112, 116, 251n126. See also Bauhaus; Facultad de Arquitectura y Urbanismo: Basic Course; Instituto de Diseño Fundación Neumann: curriculum

Waja baskets, 234, 262n37

wall hangings, 73, 79–80, 79–81, 83–84, 87, 93, 141

move away from wall, 83–84, 141, 142, 248n38. See also reticuláreas; weaving; specific reticuláreas

Wall Hangings (exhibition and book, Constantine & Larsen), 73–74, 74, 75, 80, 85

Warburg, Aby, 52, 59

Warburg, Fritz, 54, 245n143

Warburg, Max, 52, 95, 245nn143–44

Warburg family, 52, 54, 249n73

Ward, Janet, 54, 245n153

water. See fluids and fluidity; Guri Dam

Wayne, June, 168. See also Tamarind Lithography Workshop

weaving: A. Albers on, 76–78, 83, 138–40, 142–43, 247n21, 253n193, 254n196 (see also Albers, Anni)

as art, 73–76, 78–80, 79–81, 85

Bauhaus and, 55, 75, 76, 78, 84

Cuerdas and, 196

definition and term use, 2

Gego’s reticuláreas and, 7, 12, 73, 76, 128, 202 (see also reticuláreas)

Gego’s weave-like drawings, 163–65, 163

history, 128

Ingold on, 164

with paper, 234 (see also Tejeduras)

pliancy and adaptability, 84

printmaking and, 175–76

process, 83

tapestry art, 81–83, 82, 138

Venezuelan traditions, 110

and writing, 177. See also Amaral, Olga de; wall hangings

Weavings (Tejeduras) (Gego). See Tejeduras

Weissenhofsiedlung (Stuttgart), 53, 55, 55, 56, 58, 99

Werkbund, 53, 55, 99–101, 102, 113, 119–20, 249n76, 252n150. See also Bauhaus

Wetzel, Heinz, 55

White on White (Malevich), 111

Whitford, Margaret, 205, 259n177

Wiener, Paul Lester, 35, 242n80

window screens (Gego), 11, 19, 49

technical drawing, 15, 16, 17, 240n3

Wine, Karlsson, 252nn148–49

Wittkower, Rudolf, 52, 243n101

Wohnung, Die (exhibition, Stuttgart), 55, 56, 241n40

Wölfflin, Heinrich, 52

women, Irigaray on, 178, 180, 255n74, 256n79

woodcuts, 175–76

woodworking, 116–17

workshops: artisanal workshops, 118–19, 129

Gego’s exposure to, 119, 129, 168–69

Gego’s home-based workshop, 117, 137, 225–27

at the IDD, 260n195

in pre-industrial Europe, 128

at Tarma, 13, 222 (see also Arte y Vida)

workshop logic, 116–18

workshop production, 118 (see also artisanal modes of production). See also specific workshops

Woven Forms (Formas Tejidas; exhibition, 1963), 79–80, 79, 85, 247n20, 247nn23–24, 248n38

Wow Bush / Turmoil in Full Bloom (Hicks, 1977), 139

Zachai, Dorian, 85, 247n24

Zapata, Pedro León, 24

Zawiza, Leszek, 36

Zitman, Cornelis, 119, 121–22, 125, 209, 251n127, 252n153, 260n189. See also Tecoteca Muebles

Zizek, Slavoj, 58–59

Zona Feérica (Festival Zone), 188, 192–94, 258n120, 258n122, 258n124, 258n126, 258n129, 258n131

Zuloaga, Elisa Elvira (aunt of L. Palacios), 174, 255n60

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