{"data":{"id":"15319","type":"artist","attributes":{"id":15319,"topgoose_id":3122,"tms_id":15319,"display_name":"Carmen Herrera","sort_name":"Herrera Carmen","display_date":"1915–2022","begin_date":"1915","end_date":"2022","biography":"\u003cp\u003eCarmen Herrera was educated in Paris\nand Havana and studied at the Art Students\nLeague of New York before moving with\nher American husband to Paris, where\nshe lived from 1948 to 1953. During that\ntime she showed regularly with the Salon des\nRéalités Nouvelles, an international group\nof artists focused primarily on abstraction,\nand developed what would become her\nsignature style: a form of geometric, hard-\nedge abstraction featuring no more than two\nor three colors in each composition.\n\u003c/p\u003e\u003cp\u003eUpon returning to New York in\n1954 Herrera found an art world dominated\nby Abstract Expressionism. Yet she\ncontinued to make works in her uniquely\ndistilled style, and until the early 1990s\nshe had few public showings and received\nlittle critical attention.\u003ca href=\"/collection/works/45126\"\u003e\u003cem\u003e\u0026nbsp;Blanco y Verde\u003c/em\u003e\u003c/a\u003e is\npart of a long-running series of paintings\nshe composed in white and green.\nThe broad expanses of white in these works\nextend to the surrounding walls, so that\nthe green triangles—rendered in various\nsizes and positions—appear to be cuts into\nspace. In diptychs such as this one,\nthe seam between the canvases presents\nyet another form of division. Here the\nunion of forms and surfaces conveys\na structural tension that pushes beyond\nHerrera’s investigation of line and\ncolor to explore the boundaries between\ntwo- and three-dimensional space.\u003c/p\u003e","on_view":false,"artport":false,"biennial":false,"collection":true,"ulan_id":"500332016","wikidata_id":"Q522662","created_at":"2017-08-31T10:22:30.000-04:00","updated_at":"2026-03-31T07:04:07.617-04:00","links":{"artworks":"/api/artists/15319/artworks","exhibitions":"/api/artists/15319/exhibitions"}}}}