The editorial categories are research topics that have guided researchers during the recovery phase and continue to be the impetus behind the Documents Project’s digital archive and the Critical Documents book series. Developed by the project’s Editorial Board, each of the teams analyzed this framework and adapted it to their local contexts in developing their research objectives and work plans during the Recovery Phase. Learn more on the Editorial Framework page.
In this brief, bilingual essay by novelist Zoé Valdés, the author explores the function of Carmen Herrera’s paintings from a visual as well as a poetic point of view. She analyzes the lyricism and yet mathematical approach to Herrera’s style, which in many ways resembles the Greek traditions of poetry and math. The essay continues with an examination of the formal qualities in Herrera’s work, especially color, and the lyric musicality that Valdés sees in her pieces.
This art criticism is by Zoé Valdés, one of Cuba’s leading contemporary fiction writers and who lives in exile in Paris. The essay was published in ARS Atélier, which, according to their front page, was “a space and publication dedicated to promoting the visual and the performing arts, as well as the literature of contemporary Cuban artists.”Carmen Herrera (b. 1915) is the oldest living Cuban-American artist, who after living in Paris and developing a personal version of Hard-Edge Abstraction, moved to New York in the 1950s and became a pioneer in that visual language, to the extent that her art received recognition in the city.