This project involves the establishment of a website, administered through the State University at Buffalo and supported by the Samuel P. Capen Chair in Philosophy, about Cuban artists who work, or have worked for significant periods of time, outside of Cuba, and primarily on artists who were active at the time this project was initiated (2006). Its focus is on painting, although some drawing, sculpture and photography-based art will also be included. The aim of the project is to create a record of these artists, providing some biographical information, a brief interview, contact details, and a sample of the work (usually images of one or two significant and characteristic pieces). The project is also intended to illustrate how different artists have dealt with issues of immigration, diaspora, and memory in their art and lives, and to serve as the basis of a philosophical reflection on issues raised by how they have negotiated their identities as Cubans, Americans, and Cuban Americans.
Permission from collectors and the artists has been secured to display images of the works included and the texts of the interviews, but no use by anyone else is allowed without prior written permission. The project was initiated in conjunction with a National Endowment for the Humanities (NEH) Seminar that took place at the University at Buffalo June 12-30, 2006, under the direction of Jorge J. E. Gracia, Lynette Bosch, and Isabel Alvarez Borland, on the topic of "Negotiating Identities in Art, Literature and Philosophy: Cuban Americans and American Culture." The Seminar included an art exhibition, "Layers: Collecting Cuban-American Art," directed by Gracia and coordinated by Lynette Bosch, at the UB Art Galleries, Center for the Arts.
This website is exclusively intended for scholarly purposes; it
seeks to be a source of accurate information for anyone interested
in the development of Cuban art. In addition to entries about
artists, it contains or will contain some interviews with curators,
private and institutional collectors, and gallery directors. The
website refrains from making judgments of value as to the quality
of the work or the stature of the artists included. An effort will
be made to include artists from all over the word, and in
particular artists who have been marginalized for one reason or
No political considerations have played, or will play, a role in this project. Artists who work exclusively in Cuba have been excluded because they draw considerable support from being in their original cultural and national context. Cuban artists working outside Cuba are on their own, and frequently work in contexts that are hostile or indifferent; they tend to be neglected and marginalized, a common fate to those who emigrate from their lands of origin.
Frost Art Museum
Miami International University, Florida
Curator: Elizabeth Cerejido
The Museum of Art in Fort Lauderdale, Florida
Curator: Jorge Santis
The Ludwig Forum for International Art
Lehigh University Art Galleries
Curator: Ricardo Viera
Museo Nacional de Bellas Artes
La Habana, Cuba
“An interview with María Magdalena Campos-Pons, a
Cuban artist whose works explore the intersection of art and
Alvarez, Pedro. 2000. How Havana Stole from New York the Idea of Cuban Art. Smart Art Press.
1985. The American Experience: Contemporary Immigrant Artists. Exhibition Catalogue. Philadelphia and New York: The Balch Institute of Ethnic Studies.
Baker, Nicholas. 2002. A Book of Books: Photographs by Abelardo Morell. New York: Bulfinch Press.
Bal, Mieke. 1999. Quoting Caravaggio: contemporary art, preposterous history. Chicago, Ill.: University of Chicago Press.
Berthot, Lillian. 1997. La Generación del Mariel. Miami: Cuban-American National Foundation.
Blanc, Blanc. 1993. Cuban Artists of the Twentieth Century. Fort Lauderdale: Fort Lauderdale Museum of Art.
____. 1984. The Miami Generation Exhibition Catalogue. Miami: Cuban Museum of Arts and Culture.
____. 1990. The Post-Miami Generation. Exhibition Catalogue. Miami: Cuban Museum of Arts and Culture.
____, et. al. 1991. Cuba/U.S.A.: The First Generation. Exhibition Catalogue. Washington, D.C.: El Fondo del Sol.
Block, Holly. 2001. Art Cuba: The New Generation. New York, N.Y.: Abrams.
Blocker, Jane. 1999. Where is Ana Mendieta? Identity, Performativity, and Exile. Durham, NC: Duke University Press.
Bosch, Lynette M.F. 1993. Islands in the Stream: Seven Cuban-American Artists. Cortland, NY: SUNY Cortland.
____. 2004. Cuban-American Art in Miami: Exile, Identity and the Neo-Baroque. London, U.K.: Lund Humphreys Press.
____. 1997. Past Cuba-Identity and Identification in Cuban-American Art. Exhibition Catalogue. Fairfield, CT.: Fairfield University and St. Lawrence University.
Boswell, Thomas D. and James R. Curtis. 1984. The Cuban-American Experience: Culture, Images and Perspectives. Totowa, NJ: Rowman & Allanheld.
Brown, David H. 2003. Santería Enthroned: Art, Ritual and Innovation in Afro-Cuban Religion. Chicago, Il.: University of Chicago Press.
Camnitzer, Luis. 1994. New Art of Cuba. Austin: Texas: University of New Mexico Press.
Cockcroft, James D. and Jane Canning. 2000. Latino Visions: Contemporary Chicano, Puerto Rican and Cuban-American Artists. Franklin Watts Press.
Crimp, Douglas. 1993. On the Museum’s Ruins. Cambridge, Massachusetts and London: MIT Press.
____. 1984. “Pictures,” in Art After Modernism: Rethinking Representation. ed. Brian Wallis. New York and Boston: New Museum of Contemporary Art. pp. 175-87.
1996. Cuba Sigo XX: modernidad y sincretismo. Exhibition Catalogue. Islas Canarias: Centro Atlántico de Arte Moderno.
Damian, Carol. 1997. Breaking Barriers: Selections from the Museum of Art's Permanent Contemporary Cuban Collection. Exhibition Catalogue. Fort Lauderdale, Fla.: Fort Lauderdale Museum of Art.
Foster, Hal. 1984. “Re: Post,” in Art After Modernism: Rethinking Representation. ed. Brian Wallis. New York and Boston: New Museum of Contemporary Art. pp. 189-201.
Fuentes-Pérez, Ileana et. Al. 1987. Outside Cuba/Fuera de Cuba. Exhibition Catalogue. New Brunswick, N.J.: Rutgers University Press.
Gómez-Sicre, José. 1987. Art of Cuba in Exile. Miami, Fla.: Editorial Munder.
González Mandri, Flora. 2006. Guarding Cultural Memory: Afro-Cuban Women in Literature and the Arts. Charlottesville: University of Virginia Press.
Gracia, Jorge J. E., Lynette Bosch and Isabel Alvarez Borland, eds. Identity, Memory, and Diaspora: Voices of Cuban-American Artists, Writers, and Philosophers. Albany, NY: SUNY Press, 2007.
Herrera, Andrea O'Reilly. Forthcoming 2008.'Setting the Tent Against the House': Cuban Art in the Diaspora. Albany, NY: SUNY Press .
Jaffee McCabe, Cynthia, and Daniel J. Boorstin. 1976. The Golden Door: Artist-Immigrants of America, 1876-1976. Exhibition Catalogue. Washington, D.C.: Smithsomian Institution Press.
Jameson, Fredric. 1991. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham, North Carolina: Duke University Press.
Joselitt, David. 2005. “Notes on Surface: Toward a Genealogy of Flatness,” in Theory in Contemporary Art Since 1985. ed. Zoya Kocur and Simon Leung. Malden, MA and Oxford: Blackwell Publishing. pp. 292-308.
____. 1999. Loin de Cuba. Exhibition Catalogue. Aix-en-Provence, France: Musèe des Tapisseries.
Kuebler, Joanne. 1987. Art of the Fantastic: Latin America, 1920-1987. Indianapolis: Indianapolis Museum of Art
Layers: Collecting Cuban-American Art. 2006. Coordinated by Lynette M. F. Bosch. Directions and Foreword by Jorge J. E. Gracia. Buffalo, NY: University at Buffalo Art Gallery.
Loomis, John A. 1999. Revolution of Forms: Cuba's Forgotten Art Schools. Princeton, N.J.: Princeton Architectural Press.
López, Antonio and David Hart. 2005. Memory and the Installation Art of M. M. Campos Pons. (UNC dissertation).
Martínez, Juan A. 1994. Cuban Art and National Identity: The Vanguardia Painters 1927-1950. Gainesville, Fla.: University Press of Florida.
____. 2000. “Lo blanco-criollo as lo cubano in the Symbolization of a Cuban National Identity in Modernist Painting of the 1940s,” in Cuba, The Elusive Nation: Interpretations of National Identity. ed. Damian J. Fernández and Madeline Cámara. Gainesville : University Press of Florida.
Mendoza, Tony. 1999. Cuba: Going Back. Austin: University of Texas Press.
Mosquera, Gerardo. 1999. Contemporary Art from Cuba. Delano Greenridge Press.
Owens, Craig. 1998. “The Allegorical Impulse: Toward a Theory of Postmodernism,” in The Art of Art History: A Critical Anthology. ed. Donald Preziosi. Oxford and New York: Oxford University Press. pp. 315-28.
____. 1992. “The Discourse of Others: Feminists and Postmodernism” in Beyond Recognition: Representation, Power, and Culture. eds. Scott Bryson et. al. Berkely, Los Angeles, and London: University of California Press. pp. 166-90.
Sante, Luc. 2004. Camera Obscura: Photographs by Abelardo Morell. New York: Bulfinch Press.
Santis, Jorge, and Carol Damian. 1997. Breaking Barriers: Selections from the Museum of Art's Permanent Contemporary Cuban Collection. Fort Lauderdale, FL: Museum of Art Fort Lauderdale.
Simic, Charles and Jennifer Gross. 1998. Abelardo Morell: Face to Face. Boston: Isabella Stewart Gardner Museum.
Veigas, José et. al. 2003. Memoria: Cuban Art of the 20th Century. Los Angeles, Ca.: California International Arts Foundation.
Viera, Ricardo. 2001. Latin American Artist Photographers from the Lehigh University Art Galleries Collection Bethlehem, PA: Lehigh University Art Galleries/Museum Operation.
Viso, Olga. 1997. Carlos Alfonzo: Triumph of the Spirit. Miami: Miami Art Museum Seattle: Distributed by University of Washington Press, 1997.
Wallis, Brian. 1984. Art After Modernism: Rethinking Representation. New York and Boston: New Museum of Contemporary Art.
Williams, Robert, et al. 2004. Pop Surrealism: The Rise of Underground Art. San Francisco, Calif.: Ignition Pub. / Last Gasp.
Woodward, Richard B. 2005. Abelardo Morell. London: Phaidon Press.
Zuver, Marc. 1991. Cuba-USA: The First Generation. Washington, DC: El Fondo del Sol.
Smithsonian Institution, Archives of American Art Finding Aids (2006):
Cundo Bermúdez Papers (retrieved 2006, http://www.aaa.si.edu/findaids/bermcund/bermcund.htm)
Giulio V. Blanc Papers (retrieved 2006, http://www.aaa.si.edu/findaids/blangiul/blangiul.htm)
Margarita Cano Papers (retrieved 2006, http://www.aaa.si.edu/findaids/canomarg/canomarg.htm)
Ramón Carulla Papers (retrieved 2006, http://www.aaa.si.edu/findaids/caruramo/caruramo.htm)
Humberto Dionisio Papers (retrieved 2006, http://www.aaa.si.edu/findaids/dionhumb/dionhumb.htm)
Hernan García Papers (retrieved 2006, http://www.aaa.si.edu/findaids/garchern/garchern.htm)
Abril Lamarque Papers (retrieved 2006, http://www.aaa.si.edu/findaids/lamaabri/lamaabri.htm)
Enrique Riverón Papers (retrieved 2006, http://www.aaa.si.edu/findaids/riveenri/riveenri.htm)
Baruj Salinas Papers (retrieved 2006, http://www.aaa.si.edu/findaids/salibaru/salibaru.htm)
Emilio Sanchez Papers (retrieved 2006, http://www.aaa.si.edu/findaids/sancemil/sancemil.htm)
Scull Family Papers (retrieved 2006, http://www.aaa.si.edu/findaids/sculfami/sculfami.htm)
Smithsonian Institution, Archives of American Art Oral Histories Interviews:
José Bedia, February 13, 1998, conducted by Juan Martínez
María Brito, October 25, 1997, conducted by Juan Martínez
Ramon Cernuda, March 28, 1998, conducted by Juan Martínez
Enrique Guy Garcia, March 18, 1998, conducted by Juan Martínez
José Mijares, January 17, 1998, conducted by Juan Martínez
Ruben Torres Llorca, January 13, 1998, conducted by Juan Martínez
Rafael Soriano, December 6, 1997, conducted by Juan Martínez
Arturo Rodriguez, November 14, 1997, conducted by Juan Martínez
Demi (Rodriguez), November 29, 1997, conducted by Juan Martínez
Click on an artwork for full view and slide show of all