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¿Dónde están las nubes?
1986In this essay, the critic Roberto Guevara discusses the Cuban-born Venezuelan painter Rolando Dorrego’s career and latest work. Guevara begins with a review of the art movement of the early 1970s (in which Dorrego was an active participant), which [...]ICAA Record ID: 1165822 -
[Chicago Latino]
1992This exhibition catalog, Chicago Latino, was part of an intercultural dialogue initiated by two “socially-minded arts groups,” the 369 Gallery of Edinburgh, Scotland, and the Near Northwest Arts Council of Chicago, Illinois. The exhibition [...]ICAA Record ID: 1056360 -
[Letter] 1976 November 22, Cali, Colombia [to] Lorenzo Homar
1976Cuban Manuel López Olivo thanks Lorenzo Homar for the print Homar sent him. He reports that the Cuban exhibition that just opened in Cali, Colombia, was favorably received by the students and the working class, and per López Olivo, that is what is [...]ICAA Record ID: 861253 -
[The above reverie from what is to date perhaps the most vivid...]
1990In this essay, Giulio V. Blanc discusses various reactions to the 1988 burning of a Manuel Mendive’s drawing in Florida, to explain the different attitudes held by Cuban- Americans towards Cuba. He then connects this to the larger issue of exile [...]ICAA Record ID: 801733 -
15 notes for Rosata Q: text for the exhibition quinceañera works, 1984
1984Cesar Trasobares’ essay is broken down into fifteen separate “notes” that describe the exhibited project or the Quinceañera planning process; they are written from the perspective of Rosata Quinceañera, the fictional heroine that is featured [...]ICAA Record ID: 845638 -
A conversation
1993In this discussion with Geno Rodriguez, Eleanor Heartney, and Victor Zamudio-Taylor, the three scholars consider the work of Cuban-born artist Luis Cruz Azaceta. They analyze the subject matter of his work, and all agree that it is melancholic and [...]ICAA Record ID: 847806 -
A dialogue with life and death
2006This essay by Julia Herzberg overviews Carlos Alfonzo’s artistic trajectory from 1982 to 1991, outlining the biographical details of his life and analyzing multiple artworks included in the exhibition. Working mainly in a Neo-Expressionist [...]ICAA Record ID: 1343911 -
A Sierra Beyond Borders
1991In this feature on the Cuban-American artist Paul Sierra, Jeff Huebner writes the artist’s biography, his recent ascent in the mainstream art world, and the attendant conflicts that arose in relationship to his status as a Latino artist. Huebner [...]ICAA Record ID: 840128 -
A town portrait : memory streams
1998This exhibition brochure by guest curator Julia P. Herzberg describes several works included in A Town Portrait, with an eponymous installation and two photographic series, When I Am Not Here/Estoy allá (1996) and Abridor de caminos (1997). [...]ICAA Record ID: 1343927 -
Al encuentro de los pasos perdidos : los principios del arte y el arte de los principios en la Revolución Cubana (1959-1980)=A l'encontre des passos perduts : els principis de l'art i l'art dels prinipis a la Revolució Cubana (1959-1980)
1996Iván de la Nuez’s entry for the exhibition catalog Cuba siglo XX: Modernidad y sincretismo [Twentieth-Century Cuba: Modernity and Syncretism] focuses on Cuban art made on the island as well as art made in exile from the onset of the 1959 Cuban [...]ICAA Record ID: 847599 -
Ana Mendieta
1978In this short, early artist statement, Cuban-born artist Ana Mendieta explains that the first part of her life was spent in Cuba from where she believes her interest in primitive art and culture probably originated. As a child growing up in Cuba, she [...]ICAA Record ID: 848020 -
Ana Mendieta : the formative years
2003This magazine article addresses Ana Mendieta’s early work during her graduate studies at the University of Iowa in the early 1970s. The article argues that though Mendieta’s work has been extensively analyzed, this period in her [...]ICAA Record ID: 1343959 -
Ana Mendieta's Iowa Years 1970-1980
2004This exhibition essay charts Ana Mendieta’s artistic trajectory between 1970 and 1980, including her tenure at the University of Iowa (where she completed two master’s degrees: one in painting and one in intermedia), her time in Mexico, [...]ICAA Record ID: 1343975 -
Art in exile
1980This article by Ricardo Pau-Llosa focuses on the motif of the human body as the one theme that constantly recurs throughout the work of Cuban-American artists. He notes that this is unique given the distance that they live from one another. So that, [...]ICAA Record ID: 847866 -
Arte de "los once": 5 de los mejores abstractos cubanos exponen en "Sardio"
1957This press article announces the exhibition of work by five abstract artists from Cuba (Hugo Consuegra, Tomás Oliva, Raúl Martínez, Antonio Vidal, and Guido Llinás), former members of the Los Once group (Cuba 1953). The exhibition was organized [...]ICAA Record ID: 855498 -
Artists' statements
1980These artists’ statements appeared in a catalogue documenting the first exhibition held in Chicago that conjoined Chicano, Cuban, Mexican, Puerto Rican, and Venezuelan art and artists in words and images, Arte Hispano-Americano en Chicago=Hispanic- [...]ICAA Record ID: 781476 -
Arturo Rodriguez's Ghost Archipelago
2000In this short essay, Alejandro Anreus describes Arturo Rodriguez’s series “Ghost Archipelago.” Anreus first names Rodriguez’s influences: Giorgione, El Greco, and Goya, and notes that Rodriguez was self-taught. According to Anreus, Rodriguez [...]ICAA Record ID: 801763 -
Bencomo
1988Mario Bencomo’s artist statement describes how he was born in 1953 on the date of the Moncada Barracks offensive and grew up within the revolution. Growing up Bencomo knew he did not want to stay in Cuba and declares that exile has made him more [...]ICAA Record ID: 801702 -
Breaking Barriers
1997In this brief, bilingual artist statement Maria Magdalena Campos-Pons expresses her belief that art is “The transformation of ordinary things into a vision, a new dimension that wasn’t their original purpose.” Therefore, she explains that [...]ICAA Record ID: 845701 -
Breaking barriers
1997In her artist statement, Maria Martinez-Cañas states that her photographs enable her to confront herself with personal issues like “belonging, alienation and [her] position in the outside world.” She describes her utilization of maps to “ [...]ICAA Record ID: 845720 -
Breaking barriers : forty years of Cuban art
1997This essay by Carol Damian begins in the 1950s with the artist group Los Once [The Eleven Ones] followed by a discussion of the 1959 revolution, and the "Miami Generation" of the 1960s. It continues with coverage of the artistic repression in Cuba [...]ICAA Record ID: 845682 -
By choice or by circumstance : the inevitable exile of artists
1989Ileana Fuentes-Pérez’s essay published in Outside Cuba: Contemporary Cuban Visual Artists, the catalogue for the exhibition of the same title held from 1987 to 1989 in six cities of the U.S., focuses on the reasons why so many Cuban artists went [...]ICAA Record ID: 845231 -
Careful, respect
1995In this short essay on the work of Cuban artist José Bedia, art historian Judith Bettelheim describes the artist as a “transcultural citizen” who “speaks at the intersection of diverse commentaries.” Bettelheim calls Bedia a postmodern [...]ICAA Record ID: 847897 -
Carlos Lopez: A Forgotten Michigan Painter
1999In this essay, George Vargas attests that Carlos Lopez “serves as a vital historical link connecting American modern art in Michigan with a new Latino history of the state.” During the 1920s–1940s, Carlos Lopez was a Latino artist who did not [...]ICAA Record ID: 840207 -
Carmen Herrera : like a rumor in the eye = Carmen Herrera : como un rumor en el ojo
1999In 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, [...]ICAA Record ID: 822098 -
Cesar Trasobares
1991Cesar Trasobares opens his artist statement by noting that while he was a student at different universities in Florida, he painted Cuban subjects and called the works examples of “Cubanistic Pop Art.” He then discusses the reasons involved for [...]ICAA Record ID: 800304 -
Conversations with Carlos Alfonzo = Conversaciones con Carlos Alfonzo
1997Julia P. Herzberg opens her interview with Carlos Alfonzo by asking him about the period of transition following his immigration to the U.S. from Cuba in 1980. Alfonzo touches on the two- to three-year period in which he did not paint, referring to [...]ICAA Record ID: 848257 -
Cuba of her mind : María Martínez-Cañas' photographic constructions
1994American art critic Donald Kuspit opens this essay on the work of María Martínez-Cañas by asking what meaning Cuba holds for the artist, since she immigrated to the United States at such a young age (three months old). He explains the extensive [...]ICAA Record ID: 848238 -
Cuban art in South Florida
1991Ricardo Pau-Llosa’s chapter focuses on fine art production by Miami’s Cuban-American population. Before discussing the work thematically, he notes that in Miami there has been a “resistance to seeing Cuban and Latin American Art as an equal [...]ICAA Record ID: 847639 -
Cuban artists of the twentieth century = Artistas cubanos del siglo XX
1993In the exhibition catalog for Cuban Artists of the Twentieth Century, which was on view at the Museum of Art, Fort Lauderdale, Florida—from October 1993 to January 1994,—art historian Giulio V. Blanc opens his essay by noting the 50th anniversary [...]ICAA Record ID: 848058 -
Cuidado, con respeto
1995In this short essay on the work of Cuban artist José Bedia, art historian Judith Bettelheim describes the artist as a “transcultural citizen” who “speaks at the intersection of diverse commentaries.” Bettelheim calls Bedia a postmodern [...]ICAA Record ID: 847999 -
Del niño y su estado de gracia
1931In early 1929, García Moroto left Spain for New York, and later embarked for Cuba. Once in Cuba, he gave a lecture at the Spanish Embassy in Havana on November 6, 1929, on the occasion of the fifth exhibition of Cuba’s Escuelas de Acción Artí [...]ICAA Record ID: 780220 -
Dibujos escolares
1927This brief article published in Revista de avance announces that a set of “studies” by the Cuban artist and caricaturist Rafael Blanco will be included in the exhibition 1927, featuring new art. First praising Blanco as a drawing instructor, the [...]ICAA Record ID: 1299805 -
El arte cubano en Puerto Rico y en el mundo
1982In this article, Samuel B. Cherson, a Cuban critic living in Puerto Rico, writes about Cuban artists in exile. He mentions the artists who organized an exhibition in Puerto Rico, and who have made a name for themselves on the island, as well as [...]ICAA Record ID: 804991 -
El Color de la Palabra : 32 Artistas Cubanos; Entrevistas de Gustavo Valdes Jr.
1993In these 32 interviews, Gustavo Valdés, Jr. brings together five generations of Cuban artists living and working in both exile and the Diaspora, ranging from those born in the late 1910s, to those raised and educated in the United States who define [...]ICAA Record ID: 821599 -
El futuro artista
1927In “La Nueva Estética,” the lecture by Cuban writer and philosopher Jorge Mañach, he states that the new aesthetic trends followed by members of the art avant-garde resulted from a more widespread need for renewal during this period, which [...]ICAA Record ID: 1299789 -
El momento
1927In "El momento," Juan Marinello announces the existence of a new avant-garde movement in Cuban literature and the arts. Marinello prophesizes a coming “battle” between the new Cuban intellectual scene and the outmoded literary establishment who, [...]ICAA Record ID: 1125671 -
Expone León Ferrari
1983The critic refers to the defining features of Leon Ferrari’s work, mentioning both its extensive use of signs and its references to the alienation of modern life. The article, which has a distinctly political edge, mentions certain formal aspects [...]ICAA Record ID: 743882 -
Fernández
1988In Agustin Fernandez’s artist statement, he begins with his formal training at the San Alejandro Academy. He also discusses how he “was to be nourished by a thousand things when [he] went abroad” and was greatly influenced by both Enrique Senal [...]ICAA Record ID: 801554 -
Finding the lost steps : the principles of art and the art of principles in the cuban revolution (1959-1980)
1996Iván de la Nuez’s entry for the exhibition catalog Cuba siglo XX: Modernidad y sincretismo [Twentieth-Century Cuba: Modernity and Syncretism] focuses on Cuban art made on the island as well as art made in exile from the onset of the 1959 Cuban [...]ICAA Record ID: 847620 -
Flotilla, La Niña, La Pinta, La Santa María
1992Appropriating headlines from South Florida newspapers, artist Iñigo Manglano-Ovalle makes a statement on immigration and the United States’ policies towards western hemisphere nations during the crucial period of 1979–1981, when increased [...]ICAA Record ID: 782183 -
Four ways : a room of her own
2006This exhibition essay explores the works of four contemporary women artists of Cuban descent: Teresita Fernández, María Elena González, Quisqueya Henríquez, and María Martínez-Cañas, each discussed [...]ICAA Record ID: 1344135 -
Génesis de la Jungla : Fragmentos de una biografía de Wilfredo Lam en primicia para Bohemia (III)
1983In this article, Cuban Antonio Núñez Jiménez provides interesting information on the life of Cuban artist Wifredo Lam after he returned to Havana from Europe in 1941 as a refugee of World War II. The article contains direct quotes from Lam on his [...]ICAA Record ID: 806297 -
González
1988In Juan Gonzalez’s artist statement, he describes himself as very religious and traces the source of his work to the drama in Catholic imagery. He states that he works outside of the American mainstream and feels a greater connection to the “ [...]ICAA Record ID: 801586 -
Herrera
1988In this artist statement, Cuban-born painter Carmen Herrera begins by recounting her training at the Montessori School in Havana, the San Alejandro Academy in Havana, and her studies of architecture at the Universidad de la Habana. Though the artist [...]ICAA Record ID: 801516 -
Humberto Calzada
1991The essay by Ricardo Pau-Llosa on the work of Cuban-born artist, Humberto Calzada, is divided into three sections. In the first one, “The Symbolism of Order,” Pau-Llosa addresses Calzada’s move from painting elements of colonial Cuban [...]ICAA Record ID: 848198 -
Humberto Calzada
1991The essay by Ricardo Pau-Llosa on the work of Cuban-born artist, Humberto Calzada, is divided into three sections. In the first one, “The Symbolism of Order,” Pau-Llosa addresses Calzada’s move from painting elements of colonial Cuban [...]ICAA Record ID: 848217 -
Identidad y variaciones : el pensamiento visual en el exilio desde 1959
1988Ricardo Pau-Llosa’s essay discusses six generations of modern and contemporary Cuban artists, most in exile, and their art as it deals with alienation and uprooting. According to Pau-Llosa, the first generation (1920s) includes the founding fathers [...]ICAA Record ID: 801497 -
Identity and variations: Cuban visual thinking in exile since 1959
1988Ricardo Pau-Llosa’s essay discusses six generations of modern and contemporary Cuban artists, most in exile, and their art as it deals with alienation and uprooting. According to Pau-Llosa, the first generation (1920s) includes the founding fathers [...]ICAA Record ID: 800345 -
Introduction = Introducción
1983Guilio V. Blanc’s introductory essay opens with a brief overview of Cuban painters from the 1920s through the revolutionary period and it continues by transitioning to Cuban art created in exile. Blanc argues that the art of early revolutionary [...]ICAA Record ID: 801748