lost paws:

Off the Page and in the Air, Drawing Transformed / by Holland Cotter in the New York Times:

Notes: @ The Drawing Center until July 21st.

Excerpts: “The artist named Gego, who is the subject of a small, out-of-this-world survey at the Drawing Center in SoHo, was born Gertrud Goldschmidt in Hamburg, Germany, in 1912. The daughter of a Jewish banker, she studied for a career in architecture and engineering. But in 1939, as the political heat began to build, she left for Venezuela. Apart from short visits to Europe and elsewhere, she stayed there until her death in 1994…”

“Most people would call it sculpture. She called it “drawing without paper,” and was adamant about the distinction. She wrote in a notebook: “Sculpture: three-dimensional forms of solid material. NEVER what I do!”

So what, exactly, did she do? Several innovative things, and all of them are evident at the Drawing Center in “Gego, Between Transparency and the Invisible”…”

“Gego, who was modern without being utopian, spoke of cosmic implications in her work, a way of talking about art that was less alienating in her days than in ours. And what she said makes sense. With her bolts and pliers, she was engineering infinity, a state where hierarchies, contingencies and gravity dissolve, where everything connects, and you can see the connections, and tighten them, or loosen them. How radical is that?”