Carmen Herrera, Black and Yellow, 2009
Acrylic on canvas, diptych, 72 x 72 inches
April 30 – June 26, 2010
Frederico Sève Gallery/latincollector proudly announces Carmen Herrera: Recent Works. For this show, Carmen Herrera has created 7 new works that convey the expression of space like never before. Through elegance and economy Herrera once again stakes out new frontiers.
In this new suite of paintings Carmen Herrera is still breaking new ground. Drawing on her recurrent themes of space, time, & place, Herrera expresses the monument themes that have dominated her life of making art. She alerts our senses to contemplate an architecture that is internal.
In front of a Herrera’s painting we feel the subtle transitions from objectivity to subjectivity produced by seeing one form as dominating, or one color as recessing. This dialectic potential between positive and negative space throws one off-kilter & into redundant understanding of how the flat depiction of shape can stir within us the most physical feelings toward a vastness usually only experienced in the landscape. Hers is a visuality that produces a freedom from our fixed position. In front of one of her paintings, we feel our dependence on comprehending space through the referencing of gravity and question it. Her paintings insist at once that we free ourselves from this center. They beg of us to reexamine our choices through the contemplation of an image that is free of all but the most reductive signals of relationships and interconnectivity. Her paintings depict an idyllic architecture of thoughts. Here consequence is examined from the vantage point of an elegant removal of the body and it’s gravity through the mere fixation on form.
Carmen Herrera has had a flurry of international news coverage during the past few months. Last summer art critic, Laura Cumming, in the London “Observer” sang her praises by writing, “Carmen Herrera is the discovery of the year – of the decade” & The New York Times featured a front page story about her on Sunday, December 20th, 2009. In addition to these two exciting citations, she has been featured in the January issue of “Art News”, been interviewed by German public television, German public radio and a host of others. In this climate of post-post-modernism, when people are looking back at the abstract movements- wondering they didn’t miss some things along the way,her work is finally receiving the attention that it deserves.
During the past 5 years she has been acquired by MoMA, New York, Tate Modern, London and the Hirschhorn, Washington DC. Born in Havana, Cuba in 1915, Carmen Herrera settled in New York in 1954 where she has since resided. During the 1930’s she studied in painting in Paris and architecture in Cuba, finally returning to Paris for 9 years before settling in New York City. While in Paris she participated in a number of key exhibitions of the Salon des Realities Nouvelles that focused on concrete constructivist work.