552:—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. 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.
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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. 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." 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.
137:. His colorful, often rhythmic art intertwines bits of pop iconography, gestural marks, and nonrepresentational shapes using pictorial strategies of fragmentation, repetition, effacement, and dislocation. The resulting imagery often balances between abstraction and figuration (often barely legible), detached from inherent narratives yet vaguely familiar. Critics suggest that this ambiguity engages memory, fantasy and a viewer's unconscious private interpretive schemes, evoking a multiplicity of references and readings. In 2020,
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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. 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.
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228:, producing paintings that mixed abstraction and representation and earning a BFA in 1982. 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. In the early 1990s, he refined this process during graduate studies at the
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conventional expectations with humor, biomorphic suggestion and an off-balance conceptualism. 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
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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. The moving-image work
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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. Early works ranged from explicitly figurative and
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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. His exhibition at
Sikkema Jenkins & Co (2014) centered on layered, sometimes disorienting, abstract hybrids of
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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. He often works in series, exploring continuity, discontinuity and associative relationships across and
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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. In the decade that followed, he presented them in exhibitions of diverse works that played off one another and against
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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. Writer
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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.
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onto cartoon and other found imagery. 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. Each was based on a central,
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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
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that hover between explicit and implicit, familiar and foreign, an effect that shifts pop-culture themes from the autobiographical to the interpretive realm. Writers such as
Jessica Morgan described his early works as liminal, "childlike sites of imagination" whose sophisticated sense of
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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. These images were often bizarre hybrids:
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described them as "melting, web-like abstractions … haunted by familiar ghosts that never declare themselves … flirt openly with legibility." In more cryptic felt works, large, solid forms obscured gestural areas, evoking themes of concealment and absence
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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." Herrera involved viewers directly in the web project
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psychological and cultural implications thwarted cohesive narratives but encouraged associative, impulsive readings open to repressed impulses. Herrera's later work offers a more non-linear, non-contextual interpretive encounter, conveying a
286:(2022), among others. He has exhibited at the galleries Sikkema Jenkins & Co (New York), Thomas Dane (London), Corbett vs. Dempsey (Chicago), Franco Noero (Turin), and Carlier I Gebauer (Berlin). He has lived in Berlin since 2003.
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wrapper and a phallus-shaped cutout. The splicing and destruction of the original material subverted its childhood innocence, evoking darker, provocative realms of the unconscious alluding to violence and sexuality.
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In two exhibitions, Herrera anchored several series in modern dance as a point of departure for formal and conceptual experimentation. "Soave sia il vento" (Galleria Franco Noero, 2016)—the title a line from
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writer Ara H. Merjian described
Herrera's practice—which includes works on paper, paintings, reliefs, sculpture, public art and books—as "chameleonic as is consistent," one that "breathes life into
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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.
419:, 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
476:(2005). In later wall paintings Herrera has worked in a primarily abstract vein—often lyrical dances of positive and negative or different-colored forms. They include
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390:(Dia Center, 1998), which used an interactive, diptych format to pair collages (some animated) from a series of 100 collages in playful, chance juxtapositions.
464:(Randolph Street Gallery, 1995), a continuous, varied torrent of cartoony orange blobs, billowings and curvilinear shapes. Subsequent wall paintings included
255:(1998), MoMA PS1 (2000) and the Whitney Museum (2001) in New York; and the Hammer Museum (2001) in Los Angeles, among others. He also appeared in the 2002
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647:(1997), Marie Walsh Sharpe Art Foundation (1997), Art Matters (1996) and the Chicago Department of Cultural Affairs (1995).
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521:, 2001). Later felt pieces took on simpler, figural qualities—some resembling flat, biomorphic surrealist sculptures (
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is a Venezuelan-born (1959), Berlin-based visual artist known for wide-ranging work that is rooted in the practice of
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collage, exploring the tensions between exactitude and spontaneity, placement and displacement."
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Ledezma, Juan. "Arturo Herrera: The Historical Object of Desire/El objeto histĂłrico del deseo,"
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1618:"Works by Kara Walker, Mel Bochner, and Arturo Herrera Grace the Walls of Gladstone Gallery,"
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525:, 2007), and others, garment-like forms that drooped from walls or crumpled on the floor (
196:, among others. His work belongs to the public collections of museums including MoMA, the
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1983:
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Walker, Hamza. "Arturo Herrera/A Gentle Trauma," The Renaissance Society, Chicago, 1998.
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O'Brien, Kristen. "6 San Antonio exhibits to broaden your artistic horizons in March,"
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Santiago de Compostela: Centro Galego De Arte Contemporanea, Xunta de Galicia, 2005.
472:(Hammer Museum, 2001), a gestural, red-latex-on-white work; and the spare, abstract
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Herrera's work belongs to the public collections of the Albright–Knox Art Museum,
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sense of proliferating, fragmented imagery and the multiplicity of experience.
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within bodies of work, different physical media and exhibitions. Art historian
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mounted through walls so their interior cavities and exteriors were exposed.
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488:(Tate Modern, 2016); and the 6,500--square-foot, outdoor wrap-around work,
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ice cream bar in a coloring book landscape; an upside-down, scribbled-over
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Herrera gained recognition through solo exhibitions mixing varied media at
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1520:, New York: Sikkema Jenkins & Co.; Berlin: Galerie Max Hetzler, 2007.
678:"Arturo Herrera's Latest Works Reinvigorate Modernist Collage Practices,"
434:, enamel on wall, 9 x 15,54 m, 2011, NSU Art Museum, Fort Lauderdale, FL.
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1379:"Arturo Herrera 'Soave sia il vento' at Galleria Franco Noero, Turin,"
923:"Arturo Herrera 'From This Day Forward' Thomas Dane Gallery / London,"
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184:(German Academic Exchange Service) fellowships and awards from the
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503:, wool felt, 213 x 111 cm, 2002. Linda Pace Foundation Collection.
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has characterized Herrera's method as reaching back through 1980s
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728:"Greater Than Its Parts: Arturo Herrera's “Constructed Collage,"
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Hixson, Kathryn. "Arturo Herrera at Randolph Street Gallery,"
224:, Venezuela and came to the US in 1978. He studied art at the
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Colman, David. "The clue-filled collages of Arturo Herrera,"
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612:, Tate, Walker Art Center and Whitney Museum, among others.
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Several critics contend that he connects those movements to
1666:"Waterloo Greenway installs enormous Arturo Herrera mural,"
623:(Deutscher Akademischer Austausch Dienst) (Germany, 2003)
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Dabkowski, Colin. "A Closer Look: Arturo Herrera's Walk,"
350:, mixed media and collage on paper, 30,5 x 22,9 cm, 1998.
126:, mixed media and collage on paper, 50,4 x 39,6 cm, 2020.
1536:, Nigel Prince (ed), Birmingham, UK: Ikon Gallery, 2007.
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Gibellini, Laura F. "Arturo Herrera, Americas Society,"
1467:"Arturo Herrera: Unravelling in a collage of fragments,"
460:(MCA Chicago, 1995)—to the largely abstract: the indoor
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Collage, works on paper, public art, sculpture, painting
1827:"Small-scale works at Norton, Boca give mixed results,"
1202:, February 13, 1998, p. 28–29. Retrieved April 5, 2023.
584:, Metropolitan Museum of Art, MoMA, Museo Reina Sofia,
1934:"Artists to Artists -- A Decade of the Space Program,"
1361:, November 13, 2014. p. C29. Retrieved April 5, 2023.
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Arturo Herrera at the Contemporary Dayton, Ohio, 2023
1684:, October 19, 2001. p. E39. Retrieved April 5, 2023.
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Herrera has exhibited at institutions including the
576:, ColecciĂłn Patricia Phelps de Cisneros (Caracas),
270:In his later career, Herrera has had solo shows at
1323:"Arturo Herrera: Castles, Dwarfs, and Happychaps,"
1299:, Summer 2001, p. 185–86. Retrieved April 5, 2023.
1280:, March 25, 1994, p. C28. Retrieved April 5, 2023.
833:, April 17, 2002. p. E35. Retrieved April 5, 2023.
639:(2005), Elizabeth Foundation for the Arts (1999),
1652:, June 18, 2015. p. C22. Retrieved April 5, 2023.
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1939:, May 24, 2002. p. E37. Retrieved April 5, 2023.
1449:, January 2001. p. 139. Retrieved April 5, 2023.
1395:"The Books of Others: Arturo Herrera in Berlin,"
804:Grabner, Michelle. "Arturo Herrera's 'Series,'"
683:, March 2020, p. 86–87. Retrieved April 5, 2023.
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969:Castello di Rivoli Museum of Contemporary Art.
782:Helguera, Pablo. "The Edges of the Invisible,"
456:overtly sexual—the black contour-lined outdoor
1832:, December 29, 2017. Retrieved April 30, 2023.
1647:"A Retrospective of Wall Painting in Chelsea,"
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1384:, September 1, 2016. Retrieved April 10, 2023.
615:Herrera has been awarded fellowships from the
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1777:Hammer Museum, 2007. Retrieved April 6, 2023.
1696:. "Arturo Herrera," November 10, 2014, p. 16.
1532:Hickey, Dave. "Arturo Herrera: Easy As Pie,"
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1241:, September 5, 2002. Retrieved April 5, 2023.
881:Hammer Museum, 2001. Retrieved April 5, 2023.
158:Castello di Rivoli Museum of Contemporary Art
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1153:November 30, 2019. Retrieved April 10, 2023.
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1087:, Art and Artists. Retrieved April 5, 2023.
1069:Previous Biennial Competition Award Winners
1035:John Simon Guggenheim Memorial Foundation.
1005:Exhibitions, 2001. Retrieved April 6, 2023.
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588:, Museum of Contemporary Art, Los Angeles,
1775:"Hammer Contemporary Collection: Part II,"
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1308:Meschede, Friedrich and Ingrid Schaffner.
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1103:, Art Collection. Retrieved April 5, 2023.
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1421:August 4, 2016. Retrieved April 10, 2023.
1131:Museum of Contemporary Art, Los Angeles.
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439:Wall paintings, felt and other sculptures
307:to the earlier 20th-century languages of
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939:"Visions That Flaunt Cartoon Pedigrees,"
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635:(1996). He has received grants from the
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1923:, EFA Alumni. Retrieved April 10, 2023.
1764:, Recipients. Retrieved April 10, 2023.
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1236:"New York On Line; Click Here For Art,"
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206:Museum of Contemporary Art, Los Angeles
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1884:, Collection. Retrieved April 5, 2023.
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1746:Arturo Herrera, Night Before Last (1L)
1325:Exhibitions. Retrieved April 10, 2023.
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2045:University of Illinois Chicago alumni
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1590:Vetrocq, Marcia E. "Arturo Herrera,"
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989:, May 2013. Retrieved April 30, 2023.
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423:'s ballet-cantata of the same title.
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267:. In 1997, he relocated to New York.
1910:, Artists. Retrieved April 10, 2023.
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1871:, Artists. Retrieved April 10, 2023.
1858:, Artists. Retrieved April 10, 2023.
1854:San Francisco Museum of Modern Art.
1845:, Artwork. Retrieved April 10, 2023.
1843:Arturo Herrera, When Alone Again III
1835:
1816:, Artists. Retrieved April 30, 2023.
1803:, Objects. Retrieved April105, 2023.
1793:
1786:Museum of Contemporary Art Chicago.
1748:, Objects. Retrieved April 10, 2023.
1735:, Objects. Retrieved April 10, 2023.
1722:, Artists. Retrieved April 10, 2023.
1699:
1488:, Projects. Retrieved April 5, 2023.
1315:
1294:"Painting at the Edge of the World,"
1275:"The Joys of Childhood Re-examined,"
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1055:, Artists. Retrieved April 10, 2023.
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278:(2007), Haus Am Waldsee (2010), the
16:Venezuelan visual artist (born 1959)
1919:Elizabeth Foundation for the Arts.
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1790:, Artists. Retrieved April 5, 2023.
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1709:, Person. Retrieved April 10, 2023.
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1135:, Artists. Retrieved April 5, 2023.
1119:, Artists. Retrieved April 5, 2023.
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1039:, Fellows. Retrieved April 5, 2023.
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960:, Artists. Retrieved April 5, 2023.
849:Morgan, Jessica. "Arturo Herrera,"
586:Museum of Contemporary Art, Chicago
474:Untitled (Wall painting for Berlin)
372:seeing a teddy bear flattened by a
276:The Aldrich Contemporary Art Museum
272:Centro Galego de Arte Contemporánea
13:
1900:
1760:Foundation for Contemporary Arts.
1603:Patner, Andrew. "Arturo Herrera,"
1067:Louis Comfort Tiffany Foundation.
1003:"Hammer Projects: Arturo Herrera,"
947:
879:"Hammer Projects: Arturo Herrera,"
760:Artists.. Retrieved April 5, 2023.
606:San Francisco Museum of Modern Art
14:
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1946:
1400:, Vol. 4 No. 2, July–August 2014.
1321:Aldrich Contemporary Art Museum.
230:University of Illinois at Chicago
63:University of Illinois at Chicago
1967:, Dia: Artist Web Projects, 1998
1547:"Uptown, a Jumble of Treasures,"
1099:The Metropolitan Museum of Art.
956:Whitney Museum of American Art.
786:, August–October 1999, p. 48–52.
645:Louis Comfort Tiffany Foundation
637:Foundation for Contemporary Arts
282:(2014), Tate Modern (2016), and
190:Louis Comfort Tiffany Foundation
162:Centre d'Art Contemporain Genève
101:Foundation for Contemporary Arts
97:Louis Comfort Tiffany Foundation
29:
2035:20th-century Venezuelan artists
2030:21st-century Venezuelan artists
480:(Linda Pace Foundation, 2013);
364:'s lower torso morphing into a
1577:Estep, Jan. "Arturo Herrera,"
176:. He has been recognized with
1:
877:Christov-Bakargiev, Carolyn.
650:
617:John S. Guggenheim Foundation
1812:National Gallery of Canada.
1799:Museum of Fine Arts Boston.
1177:, September 2007, p. 98–100.
1051:Pollock-Krasner Foundation.
251:(both 1998) in Chicago; the
220:Herrera was born in 1959 in
7:
1897:. Retrieved April 10, 2023.
1504:February–April 2011, p. 79.
1071:. Retrieved April 10, 2023.
610:Staatliche Museen zu Berlin
560:Collections and recognition
484:(Gladstone Gallery, 2015);
354:
241:[Museum of Contemporary Art
10:
2076:
2050:University of Tulsa alumni
2006:Sikkema Jenkins & Co.*
1718:Art Institute of Chicago.
1705:Albright–Knox Art Museum.
641:Pollock-Krasner Foundation
594:National Gallery of Canada
590:Museum of Fine Arts Boston
330:likened Herrera's work to
297:Carolyn Christov-Bakargiev
198:Metropolitan Museum of Art
186:Pollock-Krasner Foundation
93:Pollock-Krasner Foundation
106:
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1971:Arturo Herrera at Art 21
1841:PĂ©rez Art Museum Miami.
1744:Carnegie Museum of Art.
1197:"Powers of Subtraction,"
903:No. 122, 2008, p. 24–29.
566:Art Institute of Chicago
490:Wall Painting for Austin
280:Albright–Knox Art Museum
1731:Blanton Museum of Art.
1634:Culture Map San Antonio
1581:, March 1998, p. 50–51.
1377:Ricuperati, Gianluigi.
1252:"The Whitney Biennial,"
1222:, October 1995, p. 111.
413:Les Noces (The Wedding)
253:Dia Center For The Arts
237:Randolph Street Gallery
1961:, Museum of Modern Art
1083:Museum of Modern Art.
1019:Museum of Modern Art.
602:PĂ©rez Art Museum Miami
574:Carnegie Museum of Art
504:
435:
351:
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1880:Dia Arts Foundation.
1594:, April 2007, p. 141.
1481:Dia Arts Foundation.
1419:"Soave sia il vento,"
984:"For the Time Being,"
633:Illinois Arts Council
570:Blanton Museum of Art
498:
429:
345:
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85:Guggenheim Fellowship
2010:Thomas Dane Gallery.
1830:Palm Beach ArtsPaper
1621:Architectural Digest
982:Mehring, Christine.
598:Norton Museum of Art
578:Dallas Museum of Art
216:Education and career
166:Kunsthalle Bielefeld
150:Museum of Modern Art
2016:Corbett vs. Dempsey
1867:Walker Art Center.
1825:Sarmiento, Gretel.
1645:Sheets, Hilarie M.
1607:, January 29, 1998.
1338:, January 13, 2015.
1149:Museo Reina Sofia.
313:lyrical abstraction
259:and surveys at the
245:Renaissance Society
226:University of Tulsa
67:University of Tulsa
1980:, Art21, PBS, 2005
1937:The New York Times
1682:The New York Times
1679:"Negative Spaces,"
1650:The New York Times
1616:Slenske, Michael.
1550:The New York Times
1393:Nippe, Christina.
1359:The New York Times
1292:Briggs, Patricia.
1278:The New York Times
1239:The New York Times
942:The New York Times
831:The New York Times
726:Purcell, Barbara.
505:
458:Out of Twenty-four
436:
352:
290:Work and reception
128:
52:Caracas, Venezuela
1988:Émergent Magazine
1906:Normal Editions.
1605:Chicago Sun-Times
1470:Émergent Magazine
1444:"Arturo Herrera,"
1442:Caniglia, Julie.
1356:"Arturo Herrera,"
1273:Cotter, Holland.
828:"Arturo Herrera,"
758:"Arturo Herrera,"
701:"Arturo Herrera,"
533:Later exhibitions
404:Robert Motherwell
301:appropriation art
265:Walker Art Center
243:(both 1995), the
210:Museo Reina Sofia
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1955:official website
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1932:Smith, Roberta.
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676:Merjian, Ara H.
674:
499:Arturo Herrera,
470:When Alone Again
430:Arturo Herrera,
417:Americas Society
346:Arturo Herrera,
303:and 1950s–1960s
257:Whitney Biennial
122:Arturo Herrera,
33:
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699:Byrt, Anthony.
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631:(1998) and the
562:
535:
441:
421:Igor Stravinsky
408:Jackson Pollock
396:John Baldessari
357:
332:Rorschach tests
292:
263:, MoMA PS1 and
218:
89:DAAD Fellowship
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1947:External links
1945:
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1895:Visual Artists
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1698:
1694:The New Yorker
1686:
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1638:
1636:, May 4, 2022.
1625:
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1596:
1592:Art in America
1583:
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1565:, Summer 1994.
1554:
1545:Johnson, Ken.
1538:
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1200:Chicago Reader
1195:Camper, Fred.
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971:"The Moderns,"
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808:June 26, 2012.
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549:Cosi fan tutte
534:
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510:New York Times
446:Jiminy Cricket
440:
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383:Holland Cotter
379:New York Times
356:
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328:Pablo Helguera
324:conceptual art
291:
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261:Drawing Center
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154:Whitney Museum
139:Art in America
131:Arturo Herrera
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1996:, Interview,
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2055:1959 births
1502:Arte Al Dia
1485:Almost Home
901:Arte al Dia
388:Almost Home
366:Häagen-Dazs
362:Donald Duck
319:collage.
2024:Categories
1662:Sightlines
1175:Elle DĂ©cor
806:Art Agenda
651:References
501:Each Other
482:Come again
337:postmodern
309:surrealism
212:(Madrid).
178:Guggenheim
1220:Flash Art
784:Art Nexus
731:Glasstire
546:'s opera
529:, 2009).
486:Half-Time
466:All I Ask
284:Ruby City
143:modernist
59:Education
1447:Artforum
1297:Artforum
1255:Artforum
987:Artforum
704:Artforum
643:(1998),
627:(2002),
619:(2005),
527:Felt #19
492:(2022).
355:Collages
348:Untitled
274:(2005),
174:MoMA PS1
152:(MoMA),
124:Untitled
1893:Yaddo.
629:Artpace
512:critic
381:critic
305:Pop art
222:Caracas
194:Artpace
135:collage
107:Website
2000:, 2005
1990:, 2021
1115:Tate.
544:Mozart
370:Tweety
317:cubist
172:, and
81:Awards
1415:Domus
754:ART21
625:Yaddo
523:Orfeo
450:Pluto
1977:Play
621:DAAD
478:Adam
462:Tale
448:and
432:Band
406:and
315:and
247:and
208:and
202:Tate
192:and
182:DAAD
180:and
48:1959
41:Born
2026::
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517:(
415:(
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