Arturo Herrera

Last updated
Arturo Herrera
Arturo Herrera 2023.jpg
Arturo Herrera at the Contemporary Dayton, Ohio, 2023
Born
Arturo Herrera

1959
Caracas, Venezuela
Education University of Illinois at Chicago, University of Tulsa
Known forCollage, works on paper, public art, sculpture, painting
Awards Guggenheim Fellowship, DAAD Fellowship, Pollock-Krasner Foundation, Louis Comfort Tiffany Foundation, Foundation for Contemporary Arts
Website Arturo Herrera
Arturo Herrera, Untitled, mixed media and collage on paper, 50,4 x 39,6 cm, 2020. Arturo Herrera Untitled 2020.jpg
Arturo Herrera, Untitled, mixed media and collage on paper, 50,4 x 39,6 cm, 2020.

Arturo Herrera is a Venezuelan-born (1959), Berlin-based visual artist known for wide-ranging work that is rooted in the practice of collage. [1] [2] [3] His colorful, often rhythmic art intertwines bits of pop iconography, gestural marks, and nonrepresentational shapes using pictorial strategies of fragmentation, repetition, effacement, and dislocation. [4] [5] [6] The resulting imagery often balances between abstraction and figuration (often barely legible), detached from inherent narratives yet vaguely familiar. [7] [8] Critics suggest that this ambiguity engages memory, fantasy and a viewer's unconscious private interpretive schemes, evoking a multiplicity of references and readings. [9] [10] [11] In 2020, Art in America writer Ara H. Merjian described Herrera's practice—which includes works on paper, paintings, reliefs, sculpture, public art and books—as "chameleonic as [it] is consistent," one that "breathes life into modernist collage, exploring the tensions between exactitude and spontaneity, placement and displacement." [1]

Contents

Herrera has exhibited at institutions including the Museum of Modern Art (MoMA), [12] Whitney Museum, [13] Castello di Rivoli Museum of Contemporary Art, [14] Centre d'Art Contemporain Genève, Kunsthalle Bielefeld, [15] Hammer Museum, [16] and MoMA PS1. [17] He has been recognized with Guggenheim and DAAD (German Academic Exchange Service) fellowships [18] [4] and awards from the Pollock-Krasner Foundation, Louis Comfort Tiffany Foundation and Artpace, among others. [19] [20] [3] His work belongs to the public collections of museums including MoMA, [21] the Metropolitan Museum of Art, [22] Tate, [23] Museum of Contemporary Art, Los Angeles [24] and Museo Reina Sofia (Madrid). [25]

Education and career

Herrera was born in 1959 in Caracas, Venezuela and came to the US in 1978. He studied art at the University of Tulsa, producing paintings that mixed abstraction and representation and earning a BFA in 1982. [4] [26] [27] After graduating, he traveled in Europe before moving to New York, where he began collecting coloring books, comics and illustrated fairy tales as "encyclopedias" of imagery that he cut into scraps of biomorphic forms to be collaged. [26] In the early 1990s, he refined this process during graduate studies at the University of Illinois at Chicago (MFA, 1992). [26] [6]

Herrera gained recognition through solo exhibitions mixing varied media at Randolph Street Gallery, [Museum of Contemporary Art (both 1995), the Renaissance Society and Art Institute (both 1998) in Chicago; [28] [27] the Dia Center For The Arts (1998), MoMA PS1 (2000) and the Whitney Museum (2001) in New York; [29] [17] and the Hammer Museum (2001) in Los Angeles, among others. [9] He also appeared in the 2002 Whitney Biennial [30] and surveys at the Drawing Center, MoMA PS1 and Walker Art Center. [31] [17] [32] In 1997, he relocated to New York. [5]

In his later career, Herrera has had solo shows at Centro Galego de Arte Contemporánea (2005), [33] The Aldrich Contemporary Art Museum (2007), [34] Haus Am Waldsee (2010), [2] the Albright–Knox Art Museum (2014), [35] Tate Modern (2016), and Ruby City (2022), among others. [3] He has exhibited at the galleries Sikkema Jenkins & Co (New York), [7] [36] Thomas Dane (London), [11] Corbett vs. Dempsey (Chicago), [6] [1] Franco Noero (Turin), [37] and Carlier I Gebauer (Berlin). He has lived in Berlin since 2003. [38]

Work and reception

Herrera has produced a diverse body of work in terms of medium and materials, but is best known for his mixed-media collages and works on paper, felt sculptures and site-specific wall paintings. [1] He often works in series, exploring continuity, discontinuity and associative relationships across and within bodies of work, different physical media and exhibitions. [6] [9] [39] Art historian Carolyn Christov-Bakargiev has characterized Herrera's method as reaching back through 1980s appropriation art and 1950s–1960s Pop art to the earlier 20th-century languages of surrealism, lyrical abstraction and cubist collage. [9] [5] [7]

Several critics contend that he connects those movements to conceptual art through tendencies in his work—toward absence, omission and a minimum of referential cues—that test the expectations of media (painting, sculpture, collage, book) and representational systems. [5] [27] [40] [2] Pablo Helguera likened Herrera's work to Rorschach tests that hover between explicit and implicit, familiar and foreign, an effect that shifts pop-culture themes from the autobiographical to the interpretive realm. [5] [10] Writers such as Jessica Morgan described his early works as liminal, "childlike sites of imagination" whose sophisticated sense of psychological and cultural implications thwarted cohesive narratives but encouraged associative, impulsive readings open to repressed impulses. [8] [41] [5] [10] Herrera's later work offers a more non-linear, non-contextual interpretive encounter, conveying a postmodern sense of proliferating, fragmented imagery and the multiplicity of experience. [11] [42] [37]

Arturo Herrera, Untitled, mixed media and collage on paper, 30,5 x 22,9 cm, 1998. Arturo Herrera Untitled 1998.jpg
Arturo Herrera, Untitled, mixed media and collage on paper, 30,5 x 22,9 cm, 1998.

Collages

Herrera's early work centered on small, handcrafted series of collages in which he cut, layered and intertwined fragments from coloring books, advertisements, cartoons and fairy tales with painterly marks and abstract shapes. [31] [9] [8] These images were often bizarre hybrids: Donald Duck's lower torso morphing into a Häagen-Dazs ice cream bar in a coloring book landscape; an upside-down, scribbled-over Tweety seeing a teddy bear flattened by a Wonder Bread wrapper and a phallus-shaped cutout. [8] [31] The splicing and destruction of the original material subverted its childhood innocence, evoking darker, provocative realms of the unconscious alluding to violence and sexuality. [4] New York Times critic Holland Cotter wrote of Herrera's "Desire" collages (Drawing Center, 1994): "polymorphously perverse and sweet, they seem to come from the hand of a child still too naive to disguise the depths of his own aggression." [31] Herrera involved viewers directly in the web project Almost Home (Dia Center, 1998), which used an interactive, diptych format to pair collages (some animated) from a series of 100 collages in playful, chance juxtapositions. [29] [43]

In later series—among them the "Keep in Touch" (2004), "Boy and Dwarf" (2006–7), "Trigger" (2009) and "An Evening with C.W." (2012)—Herrera borrowed more widely from the legacies of abstraction and modern dance, superimposing shapes, squiggles and dense color fields that recalled work by John Baldessari, Brice Marden, Robert Motherwell and Jackson Pollock onto cartoon and other found imagery. [26] [2] [6] [44] The seventy-five large, closely hung "Boy and Dwarf" collages presented a dialectical experience of containment and exploration, suggesting both portals and a tangled "forest" of painted, sprayed, stenciled and pasted-on color. [45] [46] Each was based on a central, human-sized cartoon character whose image was largely obliterated by layers of decorative wallpaper, screenprinting and gestural painting; they were derived from two children's book images which generated twenty abstract line drawings by Herrera that he further altered by chance and systematic processes. [45] [46] The moving-image work Les Noces (The Wedding) (Americas Society, 2011) featured static, black-and-white montages of abstract imagery based on 80 photographs Herrera shot of cut-up scraps in his studio, which changed rapidly to the rhythms of Igor Stravinsky's ballet-cantata of the same title. [47] [44]

Arturo Herrera, Band, enamel on wall, 9 x 15,54 m, 2011, NSU Art Museum, Fort Lauderdale, FL. Arturo Herrera Band 2011.jpg
Arturo Herrera, Band, enamel on wall, 9 x 15,54 m, 2011, NSU Art Museum, Fort Lauderdale, FL.

Wall paintings, felt and other sculptures

In the mid-1990s, Herrera extended his collage-based approach to new, often more abstract and minimal, bodies of work: site-specific wall paintings, felt sculptures and objects. [48] [28] [49] In the decade that followed, he presented them in exhibitions of diverse works that played off one another and against conventional expectations with humor, biomorphic suggestion and an off-balance conceptualism. [27] [28] [7] [50] His exhibition at the Renaissance Society (1998) was characteristic. It featured two vibrant wall paintings, a textured curving slab of particleboard painted white to match the wall, a floor sculpture of twisting hose-like strands, and relief-like plaster heads of Jiminy Cricket and Pluto mounted through walls so their interior cavities and exteriors were exposed. [27] [51] [49]

Herrera's wall paintings—the first for an outdoor billboard in Chicago in 1994—were seamless, hard-edged works combining appealing colors and rhythmic dances of repetitive abstract forms and vernacular imagery vaguely suggesting fantasy or narrative. [9] Early works ranged from explicitly figurative and overtly sexual—the black contour-lined outdoor Out of Twenty-four (MCA Chicago, 1995)—to the largely abstract: the indoor Tale (Randolph Street Gallery, 1995), a continuous, varied torrent of cartoony orange blobs, billowings and curvilinear shapes. [9] [28] Subsequent wall paintings included All I Ask (Walker Art Center, 1999), which featured densely packed, vaguely referential, white-outlined forms on brown; [32] [5] When Alone Again (Hammer Museum, 2001), a gestural, red-latex-on-white work; [16] and the spare, abstract Untitled (Wall painting for Berlin) (2005). [10] In later wall paintings Herrera has worked in a primarily abstract vein—often lyrical dances of positive and negative or different-colored forms. [3] [52] They include Adam (Linda Pace Foundation, 2013); Come again (Gladstone Gallery, 2015); Half-Time (Tate Modern, 2016); and the 6,500--square-foot, outdoor wrap-around work, Wall Painting for Austin (2022). [53] [54] [3] [55]

Arturo Herrera, Each Other, wool felt, 213 x 111 cm, 2002. Linda Pace Foundation Collection. Arturo Herrera Each Other 2002.jpg
Arturo Herrera, Each Other, wool felt, 213 x 111 cm, 2002. Linda Pace Foundation Collection.

Herrera's large felt sculptures—first produced in 1998—suggested tactile, emblems of "heroic" Abstract Expressionist paintings with incised shapes resembling drips and splatters, while simultaneously deflating that movement with a pinned, slightly sagging appearance implying a fall from grace. [4] [9] [26] New York Times critic Roberta Smith described them as "melting, web-like abstractions … haunted by familiar ghosts that never declare themselves … [and] flirt openly with legibility." [7] [56] In more cryptic felt works, large, solid forms obscured gestural areas, evoking themes of concealment and absence (At Your Side, 2001). [41] [26] Later felt pieces took on simpler, figural qualities—some resembling flat, biomorphic surrealist sculptures (Orfeo, 2007), and others, garment-like forms that drooped from walls or crumpled on the floor (Felt #19, 2009). [10]

Later exhibitions

In later exhibitions, Herrera has pushed in the direction of more complex work, often privileging form over concept and movement (bodily and formal) with references to dance and music. [36] [39] [1] His exhibition at Sikkema Jenkins & Co (2014) centered on layered, sometimes disorienting, abstract hybrids of painting, collage and assemblage that included second-hand books blurred, dragged and dipped with paint and cutout pieces revealing layers sandwiched with sheets of silk-screened aluminum and found objects such as hemp tote bags. [57] [36] Roberta Smith described the work as more personal, experiential and riskier, exploring new "materials, processes and previous lives, while parsing the tensions between physical fact and visual effect." [36] In his 2017 show at the same gallery, Herrera applied similar visual strategies to the painted canvas for the first time, free of collage elements.

In two exhibitions, Herrera anchored several series in modern dance as a point of departure for formal and conceptual experimentation. [1] [37] "Soave sia il vento" (Galleria Franco Noero, 2016)—the title a line from Mozart's opera Cosi fan tutte —blended figuration, repetition and popular culture in gallery and outdoor wall installations and a collaborative work on a neighboring apartment building; participating tenants installed monochromatic curtains depicting dancers corresponding to imagery wallpapering the gallery. [39] [37] His 2019 Corbett vs. Dempsey show included map-like glass works that schematized dance motifs, as well as chaotic collages that layered swatches of painted canvas, screen-printed imagery, photographs of dancers and strips of felt on pink construction paper, connecting the lyrical intersection of dancing bodies with the "dance" of form. [1]

In "From This Day Forward" (Thomas Dane, 2021), Herrera presented dynamic collages, books and wall paintings (some floor-to-ceiling) that layered countless photographs, erratic strips of color and mural-sized shapes and incorporated the gallery space itself within its collaged framework. [11] [42] Writer Jasper Spires described the effect as a "phenomenological shotgun blast" and "blitz of overlapping imagery and colour" that collapsed perceptual boundaries (inside versus outside, flatness versus depth) to create an unstable, open-ended interpretive environment. [11] [42] The show included a 208-page book from a series of fifty-six unique exemplars, composed of uprooted, found pages from diverse publications that were overprinted with black shapes and outlines obscuring, disrupting and recasting the original images. [42]

Collections and recognition

Herrera's work belongs to the public collections of the Albright–Knox Art Museum, [58] Art Institute of Chicago, [59] Blanton Museum of Art, [60] Carnegie Museum of Art, [61] Colección Patricia Phelps de Cisneros (Caracas), [25] Dallas Museum of Art, [62] Hammer Museum, [63] Metropolitan Museum of Art, [22] MoMA, [21] Museo Reina Sofia, [25] Museum of Contemporary Art, Chicago, [64] Museum of Contemporary Art, Los Angeles, [24] Museum of Fine Arts Boston, [65] National Gallery of Canada, [66] Norton Museum of Art, [67] Pérez Art Museum Miami, [68] San Francisco Museum of Modern Art, [69] Staatliche Museen zu Berlin, Tate, [23] Walker Art Center [70] and Whitney Museum, [13] among others. [71]

Herrera has been awarded fellowships from the John S. Guggenheim Foundation (2005), [18] DAAD (Deutscher Akademischer Austausch Dienst) (Germany, 2003) [4] Yaddo (2002), [72] Artpace (1998) [3] and the Illinois Arts Council (1996). [73] He has received grants from the Foundation for Contemporary Arts (2005), Elizabeth Foundation for the Arts (1999), Pollock-Krasner Foundation (1998), Louis Comfort Tiffany Foundation (1997), Marie Walsh Sharpe Art Foundation (1997), Art Matters (1996) and the Chicago Department of Cultural Affairs (1995). [62] [74] [19] [75] [20]

Related Research Articles

<span class="mw-page-title-main">Dan Flavin</span> American minimalist artist (1933 - 1996)

Dan Flavin was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures.

<span class="mw-page-title-main">Ellsworth Kelly</span> American painter, sculptor, and printmaker

Ellsworth Kelly was an American painter, sculptor, and printmaker associated with hard-edge painting, Color field painting and minimalism. His works demonstrate unassuming techniques emphasizing line, color and form, similar to the work of John McLaughlin and Kenneth Noland. Kelly often employed bright colors. He lived and worked in Spencertown, New York.

Albert Oehlen is a German painter, installation artist and musician. He lives and works in Bühler, Switzerland and Segovia, Spain.

<span class="mw-page-title-main">Amy Sillman</span> American painter

Amy Sillman is a New York-based visual artist, known for process-based paintings that move between abstraction and figuration, and engage nontraditional media including animation, zines and installation. Her work draws upon art historical tropes, particularly postwar American gestural painting, as both influences and foils; she engages feminist critiques of the discourses of mastery, genius and power in order to introduce qualities such as humor, awkwardness, self-deprecation, affect and doubt into her practice. Profiles in The New York Times, ARTnews, Frieze, and Interview, characterize Sillman as championing "the relevance of painting" and "a reinvigorated mode of abstraction reclaiming the potency of active brushwork and visible gestures." Critic Phyllis Tuchman described Sillman as "an inventive abstractionist" whose "messy, multivalent, lively" art "reframes long-held notions regarding the look and emotional character of abstraction."

<span class="mw-page-title-main">Mark Bradford</span> American visual artist

Mark Bradford is an American visual artist. Bradford was born, lives, and works in Los Angeles and studied at the California Institute of the Arts. Recognized for his collaged painting works, which have been shown internationally, his practice also encompasses video, print, and installation. Bradford was the U.S. representative for the 2017 Venice Biennale. He was included in Time Magazine’s list of the 100 Most Influential People in 2021.

<span class="mw-page-title-main">Beatriz Milhazes</span> Brazilian artist

Beatriz Milhazes is a Brazilian artist. She is known for her work juxtaposing Brazilian cultural imagery and references to western Modernist painting. Milhazes is a Brazilian-born collage artist and painter known for her large-scale works and vibrant colors. She has been called "Brazil's most successful contemporary painter."

<span class="mw-page-title-main">Sterling Ruby</span> American artist

Sterling Ruby is an American artist who works in a large variety of media including ceramics, painting, drawing, collage, sculpture, video, and textiles. Often, his work is presented in large and densely packed installations. The artist has cited a diverse range of sources and influences including aberrant psychologies, urban gangs and graffiti, hip-hop culture, craft, punk, masculinity, violence, public art, prisons, globalization, American domination and decline, waste and consumption. In opposition to the minimalist artistic tradition and influenced by the ubiquity of urban graffiti, the artist's works often appear scratched, defaced, camouflaged, dirty, or splattered. Proclaimed as one of the most interesting artists to emerge this century by New York Times art critic Roberta Smith, Ruby's work examines the psychological space where individual expression confronts social constraint. Sterling Ruby currently lives and works in Los Angeles. His studio is located in Vernon, south of downtown Los Angeles.

<span class="mw-page-title-main">Jessica Stockholder</span> American artist

Jessica Stockholder is a Canadian-American artist known for site-specific installation works and sculptures that are often described as "paintings in space." She came to prominence in the early 1990s with monumental works that challenged boundaries between artwork and display environment as well as between pictorial and physical experience. Her art often presents a "barrage" of bold colors, textures and everyday objects, incorporating floors, walls and ceilings and sometimes spilling out of exhibition sites. Critics suggest that her work is informed by diverse artistic traditions, including abstract expressionism, color field painting, minimalism and Pop art. Since her early career, they have noted in her work an openness to spontaneity, accident and marginality and a rejection of permanency, monetization and disciplinary conventions that Stephen Westfall characterized as an "almost shocking sense of freedom."

<span class="mw-page-title-main">Alvin D. Loving</span> African-American abstract expressionist painter (1935 - 2005)

Alvin D. Loving Jr., better known as Al Loving, was an African-American abstract expressionist painter. His work is known for hard-edge abstraction, dyed fabric paintings, and large paper collages, all exploring complicated color relationships.

Randall Schmit is a contemporary American artist of Luxembourger and first-generation Dutch descent, working primarily in painting.

Amy Feldman is an American abstract painter from Brooklyn, New York.

Jonas Wood is a contemporary artist based in Los Angeles.

<span class="mw-page-title-main">Jennie C. Jones</span> American artist

Jennie C. Jones is an African-American artist living and working in Brooklyn, New York. Her work has been described, by Ken Johnson, as evoking minimalism, and paying tribute to the cross-pollination of different genres of music, especially jazz. As an artist, she connects most of her work between art and sound. Such connections are made with multiple mediums, from paintings to sculptures and paper to audio collages. In 2012, Jones was the recipient of the Joyce Alexander Wien Prize, one of the biggest awards given to an individual artist in the United States. The prize honors one African-American artist who has proven their commitment to innovation and creativity, with an award of 50,000 dollars. In December 2015 a 10-year survey of Jones's work, titled Compilation, opened at the Contemporary Arts Museum in Houston, Texas.

Ralph Humphrey was an American abstract painter whose work has been linked to both Abstract Expressionism and Minimalism. He was active in the New York art scene in the 1960s and '70s. His paintings are best summarized as an exploration of space through color and structure. He lived and worked in New York, NY.

Mary Weatherford is a Los Angeles–based painter. She is known for her large paintings incorporating neon lighting tubes. Her work is featured in museums and galleries including the Hirshhorn Museum and Sculpture Garden, Brooklyn Museum, Museum of Modern Art, and the High Museum of Art. Weatherford's solo exhibitions include Mary Weatherford: From the Mountain to the Sea at Claremont McKenna College, I've Seen Gray Whales Go By at Gagosian West, and Like The Land Loves the Sea at David Kordansky Gallery, Los Angeles. Her work has been part of group exhibitions at the Museum of Modern Art and the Rose Art Museum at Brandeis University.

Brenda Goodman is an American artist and painter currently living and working in Pine Hill, New York. Her artistic practice includes paintings, works on paper, and sculptures.

<span class="mw-page-title-main">Ann Toebbe</span> American contemporary artist (born 1974)

Ann Toebbe is an American contemporary artist who has had solo exhibitions at the Museum of Contemporary Art, Chicago, The Saatchi Gallery, Steven Zevitas Gallery, Monya Rowe Gallery, and Tibor de Nagy Gallery. Based in Chicago, she is best known for creating meticulously designed paintings and collages that depict the interiors of domestic life. In 2015, Vulture magazine art critic Jerry Saltz named one of Toebbe's exhibitions one of the year's 10 best. Toebbe has been featured in articles in Artforum, The New York Times, NY Magazine, The Boston Globe, The Chicago Tribune, Art in America, and Hyperallergic, among others.

<span class="mw-page-title-main">John Dilg</span> American painter (born 1945)

John Dilg is an American painter based in the Midwest. He is known for idiosyncratic landscapes that use a pared-down visual vocabulary drawing on imagination, vernacular artifacts, folk art and art historical sources. Critics describe them as dreamlike ruminations on place, the fragility of nature, the collective unconscious and mystical storytelling. Precedents for his work that have been cited include 19th-century Romantic landscape painters, Marsden Hartley, Georgia O’Keeffe and Horace Pippin, and the imaginary vistas of Henri Rousseau.

<span class="mw-page-title-main">Judith Simonian</span> American painter

Judith Simonian is an American artist known for her montage-like paintings and early urban public art. She began her career as a significant participant in an emergent 1980s downtown Los Angeles art scene that spawned street art and performances, galleries and institutions such as Los Angeles Contemporary Exhibitions (LACE) and Los Angeles Institute of Contemporary Art (LAICA), before moving to New York City in 1985.

<span class="mw-page-title-main">Sue Hettmansperger</span> American visual artist

Sue Hettmansperger is an American artist known for paintings and collages that work across the spectrum of modernist abstraction and representational imagery. Her work explores the interconnectedness of human, botanical and inorganic systems, scientific concepts and ecological concerns. She has been awarded Guggenheim and National Endowment for the Arts fellowships and her work belongs to the public collections of the Metropolitan Museum of Art, Art Institute of Chicago and Des Moines Art Center, among other institutions. She lives and works in Iowa City and is Professor Emerita of Art at the University of Iowa.

References

  1. 1 2 3 4 5 6 7 Merjian, Ara H. "Arturo Herrera's Latest Works Reinvigorate Modernist Collage Practices," Art in America, March 2020, p. 86–87. Retrieved April 5, 2023.
  2. 1 2 3 4 Byrt, Anthony. "Arturo Herrera," Artforum, April 27, 2010. Retrieved April 5, 2023.
  3. 1 2 3 4 5 6 Purcell, Barbara. "Greater Than Its Parts: Arturo Herrera's “Constructed Collage," Glasstire, April 15, 2022. Retrieved April 5, 2023.
  4. 1 2 3 4 5 6 ART21. "Arturo Herrera," Artists.. Retrieved April 5, 2023.
  5. 1 2 3 4 5 6 7 Helguera, Pablo. "The Edges of the Invisible," Art Nexus, August–October 1999, p. 48–52.
  6. 1 2 3 4 5 Grabner, Michelle. "Arturo Herrera's 'Series,'" Art Agenda June 26, 2012.
  7. 1 2 3 4 5 Smith, Roberta. "Arturo Herrera," The New York Times, April 17, 2002. p. E35. Retrieved April 5, 2023.
  8. 1 2 3 4 Morgan, Jessica. "Arturo Herrera," Grand Street, No. 66, 1998.
  9. 1 2 3 4 5 6 7 8 Christov-Bakargiev, Carolyn. "Hammer Projects: Arturo Herrera," Hammer Museum, 2001. Retrieved April 5, 2023.
  10. 1 2 3 4 5 Ledezma, Juan. "Arturo Herrera: The Historical Object of Desire/El objeto histórico del deseo," Arte al Dia No. 122, 2008, p. 24–29.
  11. 1 2 3 4 5 Spires, Jasper. "Arturo Herrera 'From This Day Forward' Thomas Dane Gallery / London," FAD Magazine, April 8, 2021. Retrieved April 5, 2023.
  12. ↑ Smith, Roberta. "Visions That Flaunt Cartoon Pedigrees," The New York Times, March 2, 2007. Retrieved April 5, 2023.
  13. 1 2 Whitney Museum of American Art. Arturo Herrera, Artists. Retrieved April 5, 2023.
  14. ↑ Castello di Rivoli Museum of Contemporary Art. "The Moderns," Exhibitions. Retrieved April 30, 2023.
  15. ↑ Mehring, Christine. "For the Time Being," Artforum, May 2013. Retrieved April 30, 2023.
  16. 1 2 Hammer Museum. "Hammer Projects: Arturo Herrera," Exhibitions, 2001. Retrieved April 6, 2023.
  17. 1 2 3 Museum of Modern Art. Arturo Herrera, Exhibitions. Retrieved April 5, 2023.
  18. 1 2 John Simon Guggenheim Memorial Foundation. Arturo Herrera, Fellows. Retrieved April 5, 2023.
  19. 1 2 Pollock-Krasner Foundation. Arturo Herrera, Artists. Retrieved April 10, 2023.
  20. 1 2 Louis Comfort Tiffany Foundation. Previous Biennial Competition Award Winners. Retrieved April 10, 2023.
  21. 1 2 Museum of Modern Art. Arturo Herrera, Art and Artists. Retrieved April 5, 2023.
  22. 1 2 The Metropolitan Museum of Art. Arturo Herrera, Art Collection. Retrieved April 5, 2023.
  23. 1 2 Tate. Arturo Herrera, Artists. Retrieved April 5, 2023.
  24. 1 2 Museum of Contemporary Art, Los Angeles. Arturo Herrera, Artists. Retrieved April 5, 2023.
  25. 1 2 3 Museo Reina Sofia. "La Colección Patricia Phelps de Cisneros (CPPC) dona a la Fundación Museo Reina Sofía 45 obras de arte contemporáneo latinoamericano," November 30, 2019. Retrieved April 10, 2023.
  26. 1 2 3 4 5 6 Colman, David. "The clue-filled collages of Arturo Herrera," Elle Décor, September 2007, p. 98–100.
  27. 1 2 3 4 5 Camper, Fred. "Powers of Subtraction," Chicago Reader, February 13, 1998, p. 28–29. Retrieved April 5, 2023.
  28. 1 2 3 4 Hixson, Kathryn. "Arturo Herrera at Randolph Street Gallery," Flash Art, October 1995, p. 111.
  29. 1 2 Copage, Eric V. "New York On Line; Click Here For Art," The New York Times, September 5, 2002. Retrieved April 5, 2023.
  30. ↑ Israel, Nico. "The Whitney Biennial," Artforum, January 2002. Retrieved April 5, 2023.
  31. 1 2 3 4 Cotter, Holland. "The Joys of Childhood Re-examined," The New York Times, March 25, 1994, p. C28. Retrieved April 5, 2023.
  32. 1 2 Briggs, Patricia. "Painting at the Edge of the World," Artforum, Summer 2001, p. 185–86. Retrieved April 5, 2023.
  33. ↑ Meschede, Friedrich and Ingrid Schaffner. Arturo Herrera Santiago de Compostela: Centro Galego De Arte Contemporanea, Xunta de Galicia, 2005.
  34. ↑ Aldrich Contemporary Art Museum. "Arturo Herrera: Castles, Dwarfs, and Happychaps," Exhibitions. Retrieved April 10, 2023.
  35. ↑ Dabkowski, Colin. "A Closer Look: Arturo Herrera's Walk," The Buffalo News, January 13, 2015.
  36. 1 2 3 4 Smith, Roberta. "Arturo Herrera," The New York Times, November 13, 2014. p. C29. Retrieved April 5, 2023.
  37. 1 2 3 4 Ricuperati, Gianluigi. "Arturo Herrera 'Soave sia il vento' at Galleria Franco Noero, Turin," Mousse Magazine, September 1, 2016. Retrieved April 10, 2023.
  38. ↑ Nippe, Christina. "The Books of Others: Arturo Herrera in Berlin," Art in Print, Vol. 4 No. 2, July–August 2014.
  39. 1 2 3 Domus. "Soave sia il vento," August 4, 2016. Retrieved April 10, 2023.
  40. ↑ Walker, Hamza. "Arturo Herrera/A Gentle Trauma," The Renaissance Society, Chicago, 1998.
  41. 1 2 Caniglia, Julie. "Arturo Herrera," Artforum, January 2001. p. 139. Retrieved April 5, 2023.
  42. 1 2 3 4 Roy, Jason. "Arturo Herrera: Unravelling in a collage of fragments," Émergent Magazine, April 2021. Retrieved April 10, 2023.
  43. ↑ Dia Arts Foundation. Arturo Herrera, Almost Home, Projects. Retrieved April 5, 2023.
  44. 1 2 Gibellini, Laura F. "Arturo Herrera, Americas Society," Arte Al Dia February–April 2011, p. 79.
  45. 1 2 Bader, Graham. Boy and Dwarf, New York: Sikkema Jenkins & Co.; Berlin: Galerie Max Hetzler, 2007.
  46. 1 2 Hickey, Dave. "Arturo Herrera: Easy As Pie," Arturo Herrera, Nigel Prince (ed), Birmingham, UK: Ikon Gallery, 2007.
  47. ↑ Johnson, Ken. "Uptown, a Jumble of Treasures," The New York Times, April 21, 2011. Retrieved April 5, 2023.
  48. ↑ Bulka, Michael. "Arturo Herrera at MWMWM," New Art Examiner, Summer 1994.
  49. 1 2 Estep, Jan. "Arturo Herrera," New Art Examiner, March 1998, p. 50–51.
  50. ↑ Vetrocq, Marcia E. "Arturo Herrera," Art in America, April 2007, p. 141.
  51. ↑ Patner, Andrew. "Arturo Herrera," Chicago Sun-Times, January 29, 1998.
  52. ↑ Slenske, Michael. "Works by Kara Walker, Mel Bochner, and Arturo Herrera Grace the Walls of Gladstone Gallery," Architectural Digest, June 30, 2015. Retrieved April 5, 2023.
  53. ↑ O'Brien, Kristen. "6 San Antonio exhibits to broaden your artistic horizons in March," Culture Map San Antonio, May 4, 2022.
  54. ↑ Sheets, Hilarie M. "A Retrospective of Wall Painting in Chelsea," The New York Times, June 18, 2015. p. C22. Retrieved April 5, 2023.
  55. ↑ Sightlines. "Waterloo Greenway installs enormous Arturo Herrera mural," June 16, 2021. Retrieved April 10, 2023.
  56. ↑ Smith, Roberta. "Negative Spaces," The New York Times, October 19, 2001. p. E39. Retrieved April 5, 2023.
  57. ↑ The New Yorker. "Arturo Herrera," November 10, 2014, p. 16.
  58. ↑ Albright–Knox Art Museum. Arturo Herrera, Person. Retrieved April 10, 2023.
  59. ↑ Art Institute of Chicago. Arturo Herrera, Artists. Retrieved April 10, 2023.
  60. ↑ Blanton Museum of Art. Arturo Herrera, Objects. Retrieved April 10, 2023.
  61. ↑ Carnegie Museum of Art. Arturo Herrera, Night Before Last (1L), Objects. Retrieved April 10, 2023.
  62. 1 2 Foundation for Contemporary Arts. Arturo Herrera, Recipients. Retrieved April 10, 2023.
  63. ↑ Garrels, Gary. "Hammer Contemporary Collection: Part II," Hammer Museum, 2007. Retrieved April 6, 2023.
  64. ↑ Museum of Contemporary Art Chicago. Arturo Herrera, Artists. Retrieved April 5, 2023.
  65. ↑ Museum of Fine Arts Boston. Arturo Herrera, Objects. Retrieved April105, 2023.
  66. ↑ National Gallery of Canada. Arturo Herrera, Artists. Retrieved April 30, 2023.
  67. ↑ Sarmiento, Gretel. "Small-scale works at Norton, Boca give mixed results," Palm Beach ArtsPaper, December 29, 2017. Retrieved April 30, 2023.
  68. ↑ Pérez Art Museum Miami. Arturo Herrera, When Alone Again III, Artwork. Retrieved April 10, 2023.
  69. ↑ San Francisco Museum of Modern Art. Arturo Herrera, Artists. Retrieved April 10, 2023.
  70. ↑ Walker Art Center. Arturo Herrera, Artists. Retrieved April 10, 2023.
  71. ↑ Dia Arts Foundation. Arturo Herrera, Collection. Retrieved April 5, 2023.
  72. ↑ Yaddo. Visual Artists. Retrieved April 10, 2023.
  73. ↑ Normal Editions. Arturo Herrera, Artists. Retrieved April 10, 2023.
  74. ↑ Elizabeth Foundation for the Arts. Arturo Herrera, EFA Alumni. Retrieved April 10, 2023.
  75. ↑ Smith, Roberta. "Artists to Artists -- A Decade of the Space Program," The New York Times, May 24, 2002. p. E37. Retrieved April 5, 2023.
This page is based on this Wikipedia article
Text is available under the CC BY-SA 4.0 license; additional terms may apply.
Images, videos and audio are available under their respective licenses.