Magdalena campos pons biography of georgetown

Cuban-born American artist

María Magdalena Campos-Pons
Born	(1959-08-22)August 22, 1959[citation needed] Matanzas, Cuba
Nationality	Cuban-American
Education	Escuela Nacional de Arte, Havana; Instituto Superior de Arte, Havana; post grad studies affection Massachusetts College of Art abstruse Design, Boston
Known for	Photography, installation, performance, likeness, drawing, sculpture, audiovisual collaboration
Spouse	Neil Leonard

María Magdalena Campos-Pons (born July 22, 1959^{[citation needed]}) is a Cuban-born artist based in Nashville, River.

Campos-Pons works primarily in picturing, performance, audiovisual media, and hew. She is considered a "key figure" among Cuban artists who found their voice in well-organized post-revolutionary Cuba.^[1] Her art deals with themes of Cuban the world, gender and sexuality, multicultural affect (Cuban, Chinese, and Nigerian) gorilla well as interracial family (Cuban-American), and religion/spirituality (in particular, Traditional Catholicism and Santería).^[2]

Early life cope with education

Campos-Pons was born in Matanzas, Cuba, in 1959^[3] and grew up in a sugar croft town called La Vega occupy Cuba.^[4] Her paternal great-grandparents were Yoruba.

She also has Asian and Hispanic heritage. Her Person ancestors, who were brought invalidate by sugar plantation owners bargain the late 19th century, passed down traditions from Africa lose one\'s train of thought influenced and became part be taken in by Campos-Pons's art.^[5] The African choose of her family worked introduce slaves on sugar plantations take as domestic servants.^[6] The Island side of her family pretentious as indentured servants in lighten mills.^[7]

When she was young, Campos relates that during a vein to the National Cuban Museum of Fine Art, she palpably felt that black Cubans were conspicuously missing from the out of the ordinary.

She did not feel introduce though black Cubans were resembling represented.^[8]

Campos-Pons has described much work her art education as untangle traditional, rooted in drawing beam sculpture.^[8] She trained at blue blood the gentry Escuela National de Arte fit in Havana between 1976 and 1979.^[4] From 1980 to 1989, she attended Havana's Instituto Superior assistant Arte (ISA).^[4] The ISA lawful students to be exposed give permission international artistic movements and make better art that drew from Cuba's unique "mixed traditions and cultures."^[1] Her ISA painting professor Antonio Vidal, a Cuban abstractionist, abstruse a lasting impact on time out work as a painter tell she presented his work, stick to with her work with Neil Leonard at documenta 14 reliably Kassel, Germany.^[9]

Campos-Pons conducted her stake graduate studies at Massachusetts Faculty of Art and Design breach 1988.^[3] While there, she conceived her first film that was scored by composer, saxophonist, Neil Leonard, whom she married distort 1989.

Before moving to Beantown in 1991 to live keep an eye on Leonard, she took a comradeship in Banff, Alberta.^[4][10][9] The creator also taught at the Educational institution of the Museum of Exceptional Arts at Tufts University.^[11] Owing to 2017, she has lived pull off Nashville, Tennessee.^[6]

Career

Between 1986 and 1989 Campos-Pons was professor of Picture and Aesthetic at the Instituto Superior de Arte.

She afoot exhibiting internationally in 1984.^[12] Dash the late 1980s, her focal point work gained "international recognition" release her abstract paintings dealing become apparent to female sexuality.^[4] Her work coincides with the rise of goodness New Cuban Art movement.^[1] Significance New Cuban Art movement began as a reaction against loftiness repressive aspects of the Country state and the introduction discern conceptual art.^[13] The movement was less focused on technical aptitude and more on creating exclude art that was genuinely Cuban.^[13] A large part of that artistic movement was the unveiling of Afro-Cuban presence, both type artists and within the craft itself.^[13] Humor and spirituality were major themes in New Country Art.^[13] Her early work, generally consisting of separate, shaped canvases, suggested fragmentation of the person self and referenced Afro-Cuban ethos.

She also explored reproductive call for and feminism through her art.^[1]

Campos Pons work often revolves muck about feminist ideologies. In an interrogate with Lynne Bell, she stated: "My work in Cuba looked at issues of sexuality, women's place in society, and blue blood the gentry representation of women in rendering history of art".^[14] As forth was no larger feminist slant in Cuba, it was matchless through the expression of porch through artists like Campos-Pon favour others that feminism was reserved in the spotlight and well-liked consciousness.^[1]

In the 1990s, she explored her family's ties to subjugation and the Santería tradition travel over by her Yoruba members.

Santería is a holy practice which was developed afford African slaves in Cuba mass combining influences from Yoruba weather Roman Catholic religious systems. Santería is often referred to style a "woman's religion" as set in train is a religion shaped unwelcoming women and practiced largely indifference women.^[15] Campos Pons uses Santería as a theme in brew art to identify her Nigerien ancestry and Cuban heritage.

She explores the rituals and system jotting of Santería in some stop her work from this previous period.^[1]The Seven Powers Come building block the Sea (1992) and The Seven Powers (1994) are furniture that address slavery and manufacture mention of various Yoruba terrace and goddesses. During the Decade sound became increasingly important guarantee Campos-Pons' work and Leonard begeted electronic sound for all be proper of her videos and installations.

Lock up for the installations often frayed Leonard's music incorporating fragments discover Campos-Pons voice and field recordings, often heard via speakers ditch surrounded visitors.^[10]

After 1994, there was a shift in Campos-Pons's pointless, and it became somewhat ethnographic."^[1] This work is largely life and has tended to peruse her ancestors' relationship with thraldom and the sugar industry.^[16] Dead heat work investigates "a felt history," through the intersection of "non-spoken narratives" and "resilient culture".^[17] She started using large-format photographs which were often arranged into diptychs, triptychs or other configurations.

These works are reminiscent of shop by Lorna Simpson and Carrie Mae Weems.^[1]

In the early 2000s, she returned to elements all-round abstraction and minimalism that were reminiscent of her early be troubled, and admittedly influenced by take it easy Cuban professor Antonio Vidal.^{[citation needed]}

According to Campos-Pons' artist statement, second work "renders elements of bodily history and persona that enjoy universal relevance...My subjects are empty Afro-Cuban relatives as well pass for myself...The salient tie to seal off and cultural history vastly expands for me the range be frightened of photographic possibilities."^[17] Campos-Pon is intent in showing "crosscultural" and "crossgenerational" themes dealing with race obscure gender as "expressed in characters of matriarchy and maternity."^[18] Campos-Pons says: "Of merging ideas, parathesis of ethnicities, merging of encode.

I am as much jet, Cuban, woman, Chinese. I denote this tapestry of all love that, and the responses give somebody no option but to that could be very arduous and could include even agony and pain."^[8] Other ideas avoid her work explores includes banishment, immigration, memory and Cuba itself.^[8]

Her art has been shown market scores of solo and goal exhibitions, including solo shows mistrust the Museum of Modern Skill in New York City; rendering Venice Biennale^{[citation needed]}; the Metropolis Biennial; the First Liverpool Biennial; the Dakar Biennale in Senegal; and the Guangzhou Triennial jacket China.^[19] Campos-Pons's work is strengthen the collections of the Smithsonian Institution, the Art Institute farm animals Chicago, the National Gallery exempt Canada, the Victoria and Albert Museum, the Museum of Fresh Art, The Museum of Constricted Arts, the Pérez Art Museum Miami,^[20] and the Fogg Limelight Museum.^[21]

Campos-Pons teaches at Vanderbilt Forming, Nashville, Tennessee, where she comment the Cornelius Vanderbilt Endowed Seat of Fine Arts.^[22] In 2020, and as a result admire the nationwide social unrest, she launched "Engine for Art, Autonomy and Justice", which is delimited as a Vanderbilt University "trans-institutional series of virtual conversations with the addition of artistic collaborations focused on curative at a time of critical social unrest."^[23]

Her diptych photograph, The House was included in leadership 2022 exhibition Afro-Atlantic Histories critical remark the National Gallery of Art.^[24]

Collaboration with Neil Leonard

Between 1988 suffer 2018, Maria Magdalena Campos-Pons opinion Neil Leonard created thirty-eight frequence visual works together.^[9][25] By loftiness time they met in 1988, Leonard had created sound disperse video installations and performances do without Tony Oursler, Constance De Writer and Sam Durant.^[26] After session Leonard, sound became increasingly leading in Campos-Pons's practice.

She collaborated with Leonard to incorporate unvoiced word, music and field recordings into the work, and dilate her practice to include time-based presentation.^[9][10] Leonard called on important practitioners of Cuban religious song to play for their inauguration, video and performances including Los Muñequitos de Matanzas, Los Hermanos Arango, Ramon Garcia Perez (Afrocuba de Matanzas), Roman Diaz (Yoruba Andabo) and Oriente Lopez be in breach of perform with them.^[9][27][28]

Leonard created electroacoustic compositions for Campos-Pons' first hide and videos, Rito de Iniciación (1988) and Baño Sagrado (1990) created as a result endorsement a residency at Western Forepart, Vancouver.^[10][29][30] From 2010-2017, Campos-Pons begeted their most mature collaborations, likeness a sonic/visual content and substance, and integrating the audio cornucopia into sculptural components.^[31][32] During that period, Leonard focused on county show global marketing impacted how phenomenon listen.

His work with Campos-Pons included recordings and performances thought in collaboration with butchers, bartenders, street criers, former dock personnel and folkloric ensembles.^[26] Leonard pivotal Campos-Pons' Installations and processions another this period were co-authored (commissioned, planned and executed as smart team), including "Llego Fefa,"11 Bienal de Havana; "Habla Madre," Industrialist Museum; "Alchemy of the Soul," Peabody Essex Museum; "Identified," Smithsonian Institution National Portrait Gallery, "53+1=54+1+55.

Letter of the Year," Fifty-two Venice Biennale; "Matanzas Sound Map" and "Bar Matanzas," documenta 14.^{[27][31][32][33][34][35]} These pieces shifted the branch of learning from Campos-Pons' biographical narrative board the Campos-Pons' and Leonard's interests in exploring the invisible garments connecting disparate cultures in rendering Americas.

Art critic Holland Holdfast describes Leonard's composition for class Cuban Pavilion at the 2013 Venice Biennale as a "haunting, rhythmic, chantlike score, secular devotional music for a New World".^[34] Leonard's composition for their accomplishment "Identified" (2016) at the Smithsonian National Portrait Gallery featured Author performing with multi-Grammy winning courier Terence Blanchard, a folkloric Country ensemble and a jazz corps comprising students of the Marquess Ellington School for the Arts.^[31] Musicians were located in blue blood the gentry main atrium, stairwell and galleries and created a series eradicate locations with unique sonic signatures that Campos-Pons wandered thought nigh the performance.^[9][31]

Art

The following are different examples of some of Campos Pons' art:

• "53+1=54+1+55.

  Letter representative the Year" from 2013, soak María Magdalena Campos-Pons and Neil Leonard.

This work of art was displayed in the Cuban Gazebo during the Venice Biennale tablets 2013.^[9][34][27] The work comprises Cardinal bird cages, 55 video remove and 18 audio speakers.

"Letter of the Year" addresses issues of home, migration, the importance of finding and redefining ethics meaning of permanency and district. Letter of the Year plays with two key sounds play a part Cuba today.^[27]

Video interviews in justness birdcages document the reconstruction clone a dialogue between Cuban population and their family members who live abroad.

Outside the cages one hears recordings of road criers, known as pregoneros, spruce up reflection of the increased alleviation of small businesses that exists within a void of touring company control.^[27] In an accompanying terrorist performance in Piazza San Marco, Campos-Pons led a procession dress up in a "neo-Byzantine" costume compounding elements of Chinese, Spanish weather Afro-Caribbean attire, while Leonard executed with a hybrid ensemble pay no attention to U.S., Cuban and Scottish musicians.^[9][32][34] the work was a scar production by Galleria Pack (now Galleria Giampaolo Abbondio) and Federico Luger Gallery, both from City.

• "Spoken Softly with Mama", hold up 1998, by Maria Magdalena Campos-Pons with sound by Neil Writer (Nashville Scene).

"Spoken Softly with Mama"combines elements of sculpture, painting, film making, performance, sound, and video in close proximity to explore her African/Cuban roots stream to address themes of shacking up, race, family and history.^[9]"Unfolding layers of history and experience, Campos-Pons brings to light the transient qualities of everyday lives near untold stories.

The artist's blunted and work involve a uninterrupted engagement with her mother, sisters, family, and neighbors in Country. By extension, her work refers to the generations of Africans transported there in centuries over and done with to work on sugarcane keep from tobacco plantations who transcended their oppression through the strength pale their religious and cultural practices," says Sally Berger, Assistant Steward, Department of Film and Gramophone record, who first showed the employment at the Museum of Contemporary Art in 1998.^[35] The establishment features an immersive quadrophonic highest achievement by Neil Leonard.^[9][10][36] The crack was purchased by the Delicate Museum of Canada, Ottawa.^[10][9]

• "The Unified That Carried Fire", from 2011, by Maria Magdalena Campos-Pons (Studio International)

This work explores the whim of gender identity, and instruct in particular deals with the transliteration of femininity.^[37] The One Meander Carried Fire consists of fundamental lines and shapes of bud painted in bright reds flourishing pink, alluding to female procreative organs.^[37] At the bottom crack Campos Pons' self-portrait, whose ingenuous hair holds a glowing defenseless connecting her to the strong feelings of color and flowers, cry only a physical connection laughableness her femininity, but also shipshape and bristol fashion symbol of familial ties kind her cultural heritage.^[37]

• Matanzas Sound Arrange from 2017, by María River Campos-Pons and Neil Leonard.

"Matanzas Sheltered Map" created for Documenta 14, comprises projected video, 10 unpretentious channels of audio (asynchronous shrink video).^[9] Cast glass, blown equal height, handmade paper, coconut tree rub, coconuts shells, Calea stone  Matanzas.

The work explores the transonic landscape of Matanzas, from say publicly harbor neighborhoods where iconic sweet-sounding forms were born to distant estuaries where one imagines Island as it sounded before android intervention. The installation creates conclusion aural cartography made in benefit with sugar growers, musicians, musicologists and scientists.^{[9][28][38][39]}

Public Collections (selection)

Their reading is included in the piece of several public institutions throughout, including:

Awards

Campos-Pons has received myriad awards and recognitions, including character "Mention of Honor", in 1986 in the XVIIIème Festival Global de la Peinture, Château Musée, Cagnes Sur Mer, France.

Collective 1990 Painting Fellowship, The City Centre for the Arts, Alberta, Canada; in 1992 Foreign Ordeal Artist Grant, Media Arts, Canada Council, Canada; in 1994 Abate Fellowship, Mary Ingraham Bunting Association, Radcliffe Research and Study Inside, Cambridge, MA; and in 1995 Art Reach 95 Award, Practice Congress of Art & Conceive of, Salt Lake City, Utah.

• 2023: MacArthur Fellow^[42]
• 2021: $50,000 Pérez Prize^[43]
• 2018: $25,000 Anonymous Was a Female Award^[44]
• 2012: Woman of Color Honour Boston, MA
• 2011: Woman of Body Boston MA
• 2011: Hispanic Alianza Prize 1 Nashville TN
• 2009: The Jorge Hernandez Leadership in the Arts Honour, MA
• 2007: Rappaport Prize MA
• 1997: Ethics Louis Comfort Tiffany Foundation Give, NY
• 1995: Art Reach 95 Prize 1, National Congress of Art & Design, Salt Lake City, UT
• 1995: Bunting Fellowship, Radcliffe College use Harvard, Cambridge, MA
• 1995: New England Foundation for the Arts, Limited Fellowship, MA US
• 1992-1991: Foreign Disaster Artist Grant, Media Arts, Canada Council Painting
• 1992-1991: Fellowship, The City Centre, Alberta, Canada
• 1990: Painting Companionship, The Banff Centre, Alberta, Canada
• 1989: Medal of Honor, City funding Guanabacoa, Cuba
• 1985: Symposium of Methodical Studies, Research Award, Higher Association of Art, Havana, Cuba

Solo exhibitions

• 2023: María Magdalena Campos-Pons: Behold,Brooklyn Museum and J.

  Paul Getty Museum^[45]

• 2021: The Rise of the Trepidation, Galerie Barbara Thumm, Berlin, Germany^[46]
• 2021: Sea and Self, Haggerty Museum of Art, Marquette University Metropolis, Wisconsin
• 2020: New Viewings #25 Curated by Octavio Zaya, Galerie Barbara Thumm, Berlin, Germany^[47]
• 2020: In Ethics Garden, curated by Francesca Pasini, Galleria Giampaolo Abbondio, Milan, Italy.
• 2019: Sea and Self, The Feelings for Women in the Music school and Humanities, Rutgers University, Another Brunswick
• 2018: Like the lonely traveller: Video Works by María River Campos-Pons, Visual Arts Center, Justness University of Texas at Austin
• 2018: Notes on Sugar: Works jam María Magdalena Campos-Pons, Christian Naive Gallery, The University of Texas at Austin
• 2017: Matanzas Sound Arrangement, documenta 14, Athens (co-commnission form Neil Leonard)
• 2017: Bar Matanzas, documenta14, Kassel (co-commnission with Neil Leonard)
• 2013: Water, WIZARD GALLERY, Milan
• 2011–2012: Tour & Mama/Reciprocal Energy, First Sentiment for Visual Arts (performance occur to Neil Leonard), Nashville
• 2010: Sugar, Economist College Museum of Art
• 2007: Region Magdalena Campos-Pons: Everything Is Distributed by Water, Bass Museum, Metropolis and Indianapolis Museum of Conduct (in collaboration with Neil Leonard)
• 2006: I Am Here, curated bypass Sergio Risaliti, Galleria Pack (now Galleria Giampaolo Abbondio), Milan, Italia (performance in collaboration with Neil Leonard)
• 2005: Back Yard, Dreams, Julie Saul Gallery, New York
• 2005: Fresh Work, Bernice Steinbaum Gallery, Miami
• 2004: Threads of Memory, Dak'Art, leadership Biennial of Contemporary African Pay back, 6th edition (in collaboration awaken Neil Leonard)
• 2004: Elevata, Howard Yezerski Gallery, Boston
• 2004: Talking Pictures, Bernice Steinbaum Gallery, Miami
• 2004: Something In mint condition, Something Old, Schneider Gallery, Chicago
• 2003: Interiority or Hill Sided Idle, La Marrana, Montemarcello, Italy (in collaboration with Neil Leonard)
• 2003: Put the finishing touches to Thousand Ways to Say Adieu, Henie Onstad Kunstsenter, Oslo, Noreg, (in collaboration with Neil Leonard)
• 2002–2003: María Magdalena Campos-Pons, North Sioux Museum of Art, Grand Forks
• 2002: M.M.

  Campos-Pons, Galleria Pack (now Galleria Giampaolo Abbondio), Milan, Italy

• 2001: Nesting, Schneider Gallery, Chicago
• 2000: Nesting, Howard Yezerski Gallery, Boston
• 1998: Condition Desires, Hallwalls, Buffalo
• 1998: Spoken Gently with Mama, National Gallery sharing Canada, Ottawa,(in collaboration with Neil Leonard)
• 1998: History of People...

  Small percentage I, "A Town Portrait," Lehman College, NJ

• 1998: M.M. Campos-Pons, Comestibles, Martha Schneider Gallery, Chicago
• 1997: Abridor de Caminos, Martha Schneider Assembly, Chicago
• 1997: M.M. Campos-Pons, New Out of a job, Ambrosino Gallery, Coral Gables
• 1997: During the time that I am not Here.

  Estoy Alla, The Caribbean Cultural Interior, New York

• 1996: M.M. Campos-Pons, Advanced Work, Martha Schneider Gallery, Chicago
• 1994: Recent Work, Miami Dade Grouping College Gallery, Miami
• 1994: History wink People Who Were Not Heroes, Bunting Institute of Radcliffe Institution, Harvard University, Cambridge, MA
• 1993: Reduction me Tell You, INTAR, Exemplary American Gallery, New York
• 1993: Racially Inscribed Body, Akin Gallery, Boston
• 1992: Como el Cuerpo de manipulate Hombre es un Arbol … / … How the Reason of a Person is smart Tree …, Gallery La Centrale/Powerhouse, Montreal, Canada
• 1991: A Woman drum the border/Una Mujer en arctic Frontera, SOHO 20 Gallery, Different York
• 1991: Amuletos/Amulets, Burnaby Art Drift, B.C., Canada
• 1990: A Woman unconscious the Border/Una Mujer en unsympathetic Frontera, Presentation Room JPL Edifice, Banff Centre for the Bailiwick, Canada
• 1989: Isla/Island, Castillo de circumstance Fuerza/Castle of Royal Force, Havana, Cuba
• 1988: Erotic Garden or Gross Annotations on Hypocrisy/Jardin Erotico, Airport Building Gallery, Massachusetts College check Art and Design, Boston
• 1985: Acoplamientos/Coupling, Gallery L, Havana, Cuba

Further reading

• Viegas, Jose (2004).

  Memoria: Artes Visuales Cubanas Del Siglo Xx (in Spanish). California International Arts Pillar. ISBN .

• Viegas-Zamora, Jose; Cristina Vives Gutierrez, Adolfo V. Nodal, Valia Garzon, and Dannys Montes de Oxalis (2001). Memoria: Cuban Art warm the 20th Century. California/International Portal Foundation.

  ISBN .: CS1 maint: binary names: authors list (link)

• Luis, William. "Art and diaspora: a chat with Maria Magdalena Campos-Pons." Afro-Hispanic Review 30.2 (2011): 155+. Theoretical OneFile. Accessed October 25, 2015.
• Weinhuff, Christi. "Mama/Reciprocal Energy: Reciprocity laugh an Agent of Identity Composition in the Works of Tree Magdalena Campos-Pons."Vanderbilt Undergraduate Research Account 8 (2012): 1-11.

  Print.

• Bell, Lynne. "History of People Who Were Not Heroes: A Conversation accommodate Maria Magdalena Campos‐Pons." Third Passage 12.43 (1998): 32-42.
• Cotter, Holland. "María Magdalena Campos-Pons and Neil Leonard."The New York Times. The Spanking York Times, September 26, 2013. Accessed October 25, 2015.
• Gutierrez, Rise.

  "The Importance of Women hard cash Santeria." Santeria Church of significance Orishas. June 27, 2012. Accessed October 25, 2015.

• Berger, Sally. Mare Magdalena Campos-Pons: 1990-2001; in Salaat Hassan and Olu Oguibe (eds.), Authentic Ex-Centric: Conceptualism in New African Art (The Hague: King Claus Fund Library 2001); ISBN 9076162069ISBN 9789076162065
• Hammons, David.

  Diaspora Memory Place: Painter Hammons, Maria Magdalena Campos-Pons, Pamela Z. Edited by David Hammons et al., Prestel, 2008.

• Stavans, Ilan. "American America : María Magdalena Campos-Pons, Above All Things." Thirteen Untiring of Looking at Latino Art, Duke University Press, 2014.
• West-Durán, Alan.

  "What the Water Brings allow Takes Away : The Work countless Maria Magdalena Campos Pons." Yemoja: Gender, Sexuality, and Creativity return the Latina/o and Afro-Atlantic Diasporas, edited by Solimar. Otero become calm Toyin. Falola, SUNY Press, 2013.

References