Margot Römer

Post-War & Contemporary Art, RAGO ARTS AND AUCTION CENTER. https://www.ragoarts.com/docs/pdf_catalogues/2018_MayPWart.pdf

.mw-parser-output cite.citation{font-style:inherit;word-wrap:break-word}.mw-parser-output .citation q{quotes:"\"""\"""'""'"}.mw-parser-output .citation:target{background-color:rgba(0,127,255,0.133)}.mw-parser-output .id-lock-free a,.mw-parser-output .citation .cs1-lock-free a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/6/65/Lock-green.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-limited a,.mw-parser-output .id-lock-registration a,.mw-parser-output .citation .cs1-lock-limited a,.mw-parser-output .citation .cs1-lock-registration a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/d/d6/Lock-gray-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .id-lock-subscription a,.mw-parser-output .citation .cs1-lock-subscription a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/a/aa/Lock-red-alt-2.svg")right 0.1em center/9px no-repeat}.mw-parser-output .cs1-ws-icon a{background:linear-gradient(transparent,transparent),url("//upload.wikimedia.org/wikipedia/commons/4/4c/Wikisource-logo.svg")right 0.1em center/12px no-repeat}.mw-parser-output .cs1-code{color:inherit;background:inherit;border:none;padding:inherit}.mw-parser-output .cs1-hidden-error{display:none;color:#d33}.mw-parser-output .cs1-visible-error{color:#d33}.mw-parser-output .cs1-maint{display:none;color:#3a3;margin-left:0.3em}.mw-parser-output .cs1-format{font-size:95%}.mw-parser-output .cs1-kern-left{padding-left:0.2em}.mw-parser-output .cs1-kern-right{padding-right:0.2em}.mw-parser-output .citation .mw-selflink{font-weight:inherit}Fajardo-Hill, Cecilia (2017). Radical Women: Latin American Art, 1960 -1985. Armand Hammer Museum of Art and Cultural Center; Brooklyn Museum: Hammer Museum, University of California; Munich; New York: Del Monico Books/Prestel, 2017. ISBN 9783791356808.

Benezit Dictionary of Artists. Oxford University Press. 2010. ISBN 978-0199773787.

Rojas, Fernando. Colección arte venezolano: Margot Römer. Caracas: Ministerio del Poder Popular para la Cultura, 2008.

In 2003 Römer wrote La transestética postmoderna in Caracas. This book addresses Venezuelan art and the postmodernism that exists in the world. Particularly the chronological progression and overview of events within the art world. Based on Römer's graduate thesis when she studied at the Universidad Simón Rodríguez in Caracas.

Römer, Margot. La transestética postmoderna. Caracas: Fundación Banco Mercantil, 2003.

La Rocca, Graziana. Margot Römer: Series lenguajes plásticos; Artistas de hoy y mañana. Vol. 2. Caracas: Colegial Bolivariana, 2001.

2000: She won the Premio Nacional Armando Reverón for visual arts.

Guevara, Roberto. Margot Römer: Balance general. Caraca: Museo de Arte Contemporáneo de Caracas Sofía Imber, 1996.

Jiménez, Ariel. Margot Römer: Del cielo a la tierra. Caracas: Sala Mendoza, 1991.

1977: Römer received the Premio Arturo Michelena as the first female artist from Venezuela.

Aparato reproductor de la mujer (Woman's reproductive system) Made in 1972 with acrylic paint over a wooden door and cactus in a flower pot placed within the window of the door. On the door there is a list with the female reproductive system. This was exhibited in both Henrique Faria, New York and the Brooklyn Museum.

In 1972, Römer participated in "two seminal group exhibitions in the history of conceptional art in Caracas. Las Sensaciones Perdidas del Hombre at Sala Mendoza, and Para Contribuir a la Confusión General in Ateneo de Caracas. In 1973, she made Skin to Skin for the XII Biennial of São Paulo. This was a pentagonal model referring to the sensations perceived through the skin.

1972: Received honorable mention at the 2nd Salón Nacional de Jóvenes Artistas de Maracay for her work entitled, El aparato reproductor de la mujer (woman's reproductive system).

Corte esquemático del abdomen (Schematic cut of the abdomen)1970 This artwork was shown in Henrique Faria, New York. The medium for this piece is silkscreen. The image shows an oven with a dominant red color similar to that of an abdomen. The oven is left with its door open and has a pink frame for the opening. This is a representation of woman's bodies, their abdomen is looked at as machines that can produce babies.

Margot Römer (1938, Caracas, Venezuela – 2005) was a leader of radical experimental art, a teacher and a professional pilot. Her artwork reflected topics involving domesticity and sensuality of the human body. She emphasized topics of the female body by using objects to create irony. Römer had diverse knowledge in many mediums including silkscreen, pencil, oil painting, and sometimes assemblages or collages involving found objects.

Born October 7, 1938, in Caracas, Venezuela, and died in 2005. Römer used conceptual language and objects in her work to refer to the human body. In 1976, Römer became part of a curatorial team for the Galeria de Arte Nacional in Caracas. She was a director of Sala Mendoza art foundation. In the 1970s, Römer focused on incorporating messages about violence and corruption awareness within her art. During the late 1980s, she turned her focus on environmental and social issues. She was an educator and art historian who wrote about Venezuelan art and the culmination of installation art and conceptual art. Römer participated in group exhibitions and events including 1973 XII São Paulo Biennial and the 1981 São Paulo Biennial. Römer's earliest teachers were Armando Lira and Lucio Rivas where she learned the importance of color. Later studied under Cristóbal Rojas at the school of Plastic and Applied Arts from 1969 to 1971.It was in 1973 that she entered an Engraving workshop of Luisa Palacios in which Römer learned about pop art concepts and figuration. In 1974, she began using discarded objects and painting them vibrant colors to give them a sense of alternate meaning. Margot Römer is most known for her urinal and nationality works in which she paints them in multicolor, often colors of the Venezuelan flag and gives them a smooth organic appearance. In 1978, she began her work on flags and nationality at "The International Drawing Triennial" in Poland. She began teaching at the Salon d'Automne in Paris in the Metropolitan university until 1982. Römer left for the United States in 1982, and exhibited artwork in "Artists from the Continent" in Virginia. She volunteered at Museum of Modern Art in New York in the cataloging and graphic work for the department in prints and illustrated books. She returned to Venezuela in 1984, where she started artworks featuring mountains covered in national flags.