Samuel Feijóo / Revista Signos / No.19, 1976

DES-ART-CHIVANDO:
Briel / D / page No,106 / Signos, No. 19 / 1976.

Briel / E / page No,107 / Signos, No. 19 / 1976.

Selgas / A-a / page No,108 / Signos, No. 19 / 1976.

Como respuesta a las cartas recibidas por la revista, después de la sonada publicación del extenso grupo de dibujos de mi autoria, en el No. 18 de SIGNOS, 1976; Feijóo decidió publicarme en el siguiente e inmediato No.19, compartiendo espacio con nuestro “Pintor Nacional" - René Portocarrero y los muy reconocidos pintores; Ernesto Briel y Armando Morales. Para buen entendedor, pocas palabras.
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Selgas / E-e / page No,109 / Signos, No. 19 / 1976.

Portocarrero / T-A / page No,110 / Signos, No. 19 / 1976.

Portocarrero / D-I / page No,111 / Signos, No. 19 / 1976.

Le estaré eternamente agradecido a Samuel Feijóo, por “La Fe y el ojo”.

MARIEL / Not Hemingway...exactly!

...a lot like Ernest though.
These four drawings of mine (all about Boats) were created in 1990 and published by "La Nuez" magazine, New York 1991. Edition and Direction of Rafael Bordao.
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The Mariel experience was definitely a drama by itself, but only after a whole decade went by, and based on my own experience I could finally make sense of the whole picture.
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It was not only the bad credentials given to us by the "Havana-medalagana-bitch". You see, before "1989-the fall of the Berlin Wall", it was trendy to be "lefty" in this country and the Western World in general, as dictated by the "infamous-Holy like-intelligence". Being Cuban artists and residents in USA by our own-will, was a disadvantage that other Cuban American artists didn't confront, because most of the Cubans in the art scene already here, were originally brought by their parents basically two decades before. And that explains "Los Maceitos".
Very simple "Maceitos:good, Marielitos:bad".
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Anyway, mine and Ernesto' agenda was to build a "human-life" first, and then "art-passion" will make it's way naturally.
Not an "starving artist project" at all.
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We were so happy to be out of Cuba, grateful for all the nice people we had the fortune to meet and lucky to have found art-related works and most important, the fact that we were living in freedom.
After all "The American Dream" was not what brought us here. It was "The Cuban Nightmare".

Ernesto Briel & the Geometric Abstraction

Ernesto Briel / Cuba, 1943 / USA, 1992.

BRIEL' CD ROM is OUT!

November 7 marks the 66th birthday of the late Cuban master Ernesto Briel. E. Briel has been credited with being one of the first to produce (and introduce) Op Art in Cuba, in the 1960s. To celebrate this anniversary, art historian and independent curator Gustavo Valdes has released a CD ROM dedicated to the life and work of this distinguished artist. The volume contains an essay authored by Valdes along with years of critical acclaims and reviews, a detailed curriculum vitae, a large inventory of the artist’s career through images of Briel’s oeuvre and personal photos of his travels and exhibitions. Those interested in acquiring a copy may contact Gustavo Valdes at arsatelier@aol.com