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Visual Artists:
Alejandro HASLER (Cintas for art, 1984-85)
Quisqueya HENRÍQUEZ (b. 1966, Havana): An installation
artist who has been widely exhibited in the United States and
Latin America, Henríquez studied painting at the Instituto Superior
de Arte in Havana and public relations at the University of Santo
Domingo in the Dominican Republic. Her work is in various collections,
including those of the Museum of Contemporary Art in North Miami
and the Ninart Centro de Cultura in Mexico City. She is the winner
of a South Florida Consortium Award fellowship. (Cintas for art,
1997-98)
Jorge HERNÁNDEZ PORTO: (Cintas for art, 1977-78)
Julio HERNÁNDEZ ROJO (b. 1937, Havana -d.
1994, Miami): As an active member of the anti-Castro Directorio
Revolucionario Estudiantil, Hernández Rojo participated in
clandestine incursions to Cuba and eventually served more
than 15 years as a political prisoner. It was in prison that
Hernández Rojo began to paint. After his return to the United
States, he participated in a number of exhibitions in Miami
and became known for his colorful, optimistic landscapes.
His work is in the permanent collection of the Miami-Dade
Public Libraries. (Cintas for art, 1979-80)
Pedro HERNÁNDEZ (b. 1932, Havana): A physician
as well as an artist, Hernández’s favorite medium is wood,
which he sculpts into smooth abstract pieces, but he has also
produced delicate cut drawings on paper, which reflect his
interest in Panamanian molas. Hernández has exhibited at the
O Y Art Gallery in Coral Gables and at the Latin Network for
the Visual Arts in Gales Ferry, Conn., where he participated
in the exhibition Presenting Latin Visual Art to Southeastern
Connecticut. He is the winner of a first prize award for
Creativity and Collage at Tonneins-Bordeaux, France. His work
is in the permanent collection of the Miami-Dade Public Library.
Hernández studied medicine at the University of Havana. (Cintas
for art, 1983-84)
Carmen HERRERA (b. 1915, Havana) One Cuba’s
first abstract painters, Herrera has exhibited widely in solo
and group shows, including El Espíritu latinoamericano:
Arte y artistas en los Estados Unidos, 1920-1970, which
traveled widely in the United States in 1988 and 1989, and Crossing
Borders: Contemporary Art by Latin American Women at the
College of New Rochelle, New York, in 1996. Herrera’s pieces
are in various collections, including El Museo del Barrio in
New York, the Housatonic Museum of Art, in Bridgeport, Conn.,
the Jersey City Museum in New Jersey, and Havana’s Museo Nacional
de Bellas Artes. She studied painting and art history at Marymount
College in Paris, architecture at the University of Havana
and attended the Art Students League in New York. Herrera is
the subject of a 26 minute documentary, Artists in Exile:Carmen
Herrera, made in 1994. She is also one of 33 featured
artists in the book Latin American Women Artists of the
United States. Her work was included in the Outside
Cuba exhibition. Herrera lived in Paris from 1948 until
1953 and has lived in New York City since 1954. She is the
winner of a Creative Artists Public Service Award (CAPS) in
New York (Cintas for art, 1966-67, 1968-69)
Julio HERRERA ZAPATA (b.
1932, Madrid - d. 2001, Paris) A member of the Société des
Pastellistes de France, Zapata has a long history as a painter,
engraver, graphics designer and ceramicist. He exhibits regularly
in Europe in both solo and group shows, which include the Foire
Internationale d’Art Contemporain at the Grand Palais
in Paris, and the Ahrenberg
Collection at the Göteborgs Konstmuseum in Gothenburg,
Sweden. He is the winner of acquisition prizes at the Biennale
di Lignano in Italy and the Bienal de la Estampa “Máximo Prado”
in Mexico. His work is in the collections of the Bibliothéque
Nationale ine Paris, the Ahrenberg Collection in Vevey, Switzerland,
the Miami-Dade Public Library and the Museo Nacional de Bellas
Artes in Havana. Zapata studied architecture at the University
of Havana and attended Parsons School of Design in New York
and the Ecole Superieure de Beaux-Arts in Paris. (Cintas for
art, 1973-74, 1976-77)
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