Core to Carmen Herrera’s painting is a drive for formal simplicity and a striking sense of colour: “My quest”, she says, “is for the simplest of pictorial resolutions” (2012). A master of crisp lines and contrasting chromatic planes, Herrera creates symmetry, asymmetry and an infinite variety of movement, rhythm and spatial tension across the canvas with the most unobtrusive application of paint. As she moved towards pure, geometric abstraction in the post-war years in Paris, she exhibited alongside Theo van Doesburg, Max Bill and Piet Mondrian and a younger generation of Latin American artists, such as members of the Venezuelan Los Disidentes, Brazilian Concretists and the Argentinian Grupo Madi. Her work also chimes with painters from the US school such as Barnett Newman, Leon Polk Smith and Ellsworth Kelly. Reflecting on this period, she says, “I began a lifelong process of purification, a process of taking away what isn’t essential” (2005). While allied with Latin American non-representational concrete painting, Herrera’s body of work has established, quietly but steadily, a cross-cultural dialogue within the international history of modernist abstraction.
Carmen Herrera was born in Havana, Cuba in 1915. She moved frequently between France and Cuba throughout the 1930s and 1940s; having started studying architecture at the Universidad de La Habana, Havana, Cuba (1938–39), she trained at the Art Students League, New York, NY, USA (1942–43), before exhibiting five times at the Salon des Réalités Nouvelles, Musée d’Art Moderne de la Ville de Paris, France (1949–53). She settled in New York in 1954, where she continues to live and work. Herrera’s paintings were the subject of a large-scale survey at the Whitney Museum of American Art in New York City, USA (September 2016—January 2017) and prior to this, a selection of Herrera's recent paintings inaugurated Lisson Gallery's recently-opened New York exhibition space (2016). She has also had solo exhibitions at Museum Pfalzgalerie Kaiserslautern, Kaiserslautern, Germany (2010); Ikon Gallery, Birmingham, UK (2009); and Museo del Barrio, New York City, USA (1998). She has been included in the group shows 'Post War: Art Between the Pacific and the Atlantic 1945-1965', Haus der Kunst, Munich, Germany (2016); ‘Order, Chaos and the Space Between’, Phoenix Museum of Art, Arizona, USA (2013); and ‘The Geometric Unconscious: A Century of Abstraction’, Sheldon Museum of Art, Nebraska, USA (2012). She was awarded two fellowships from the Cintas Foundation, New York, USA (1966–68) and a grant by the Creative Artists Public Service, New York, USA (1977). Her work is in numerous public and private collections including the Museum of Modern Art, New York, USA; the Whitney Museum of American Art, New York, USA; the Tate Collection, London, UK; the Hirshhorn Museum, Washington DC, USA; The Smithsonian American Art Museum, Washington DC, USA; the Walker Art Center, Minneapolis, USA; and the Pérez Art Museum, Miami, FL, USA.