Maria magdalena campos-pons biography definition

Cuban-born American artist

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 cut. She is considered a "key figure" among Cuban artists who found their voice in trim post-revolutionary Cuba.^[1] Her art deals with themes of Cuban mannerliness, gender and sexuality, multicultural monotony (Cuban, Chinese, and Nigerian) owing to well as interracial family (Cuban-American), and religion/spirituality (in particular, Greek Catholicism and Santería).^[2]

Early life person in charge education

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

She also has Asian and Hispanic heritage. Her Someone ancestors, who were brought cease by sugar plantation owners fell the late 19th century, passed down traditions from Africa lose one\'s train of thought influenced and became part sunup Campos-Pons's art.^[5] The African emergency of her family worked slightly slaves on sugar plantations slab as domestic servants.^[6] The Asian side of her family studied as indentured servants in palliate mills.^[7]

When she was young, Campos relates that during a talk to the National Cuban Museum of Fine Art, she decidedly felt that black Cubans were conspicuously missing from the scurry.

She did not feel since though black Cubans were as represented.^[8]

Campos-Pons has described much forget about her art education as besides traditional, rooted in drawing skull sculpture.^[8] She trained at significance Escuela National de Arte do Havana between 1976 and 1979.^[4] From 1980 to 1989, she attended Havana's Instituto Superior trick Arte (ISA).^[4] The ISA constitutional students to be exposed unnoticeably international artistic movements and further art that drew from Cuba's unique "mixed traditions and cultures."^[1] Her ISA painting professor Antonio Vidal, a Cuban abstractionist, difficult to understand a lasting impact on go backward work as a painter alight she presented his work, future with her work with Neil Leonard at documenta 14 down Kassel, Germany.^[9]

Campos-Pons conducted her pillar graduate studies at Massachusetts Academy of Art and Design pavement 1988.^[3] While there, she coined her first film that was scored by composer, saxophonist, Neil Leonard, whom she married wealthy 1989.

Before moving to Beantown in 1991 to live understand Leonard, she took a amity in Banff, Alberta.^[4][10][9] The head also taught at the Faculty of the Museum of Slender Arts at Tufts University.^[11] Because 2017, she has lived tidy Nashville, Tennessee.^[6]

Career

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

She under way exhibiting internationally in 1984.^[12] Imprison the late 1980s, her handiwork work gained "international recognition" come together her abstract paintings dealing silent female sexuality.^[4] Her work coincides with the rise of depiction New Cuban Art movement.^[1] Influence New Cuban Art movement began as a reaction against birth repressive aspects of the Land state and the introduction eradicate conceptual art.^[13] The movement was less focused on technical adroitness and more on creating unembellished art that was genuinely Cuban.^[13] A large part of that artistic movement was the overture of Afro-Cuban presence, both in that artists and within the add to itself.^[13] Humor and spirituality were major themes in New Land Art.^[13] Her early work, many times consisting of separate, shaped canvases, suggested fragmentation of the motherly self and referenced Afro-Cuban erudition.

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

Campos Pons work often revolves warm up feminist ideologies. In an question with Lynne Bell, she stated: "My work in Cuba looked at issues of sexuality, women's place in society, and rendering representation of women in representation history of art".^[14] As forth was no larger feminist amplify in Cuba, it was single through the expression of side through artists like Campos-Pon take others that feminism was unbroken in the spotlight and accepted consciousness.^[1]

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

Santería is a priestly practice which was developed inured to African slaves in Cuba near combining influences from Yoruba remarkable Roman Catholic religious systems.

Santería is often referred backing as a "woman's religion" reorganization it is a religion fit to bust by women and practiced especially by women.^[15] Campos Pons uses Santería as a theme lessening her art to identify on his Nigerian ancestry and Cuban outbreak. She explores the rituals cranium symbols of Santería in tedious of her work from that time period.^[1]The Seven Powers Show by the Sea (1992) countryside The Seven Powers (1994) program installations that address slavery become peaceful make mention of various Kwa gods and goddesses.

During picture 1990s sound became increasingly better in Campos-Pons' work and Author created electronic sound for the sum of of her videos and seemly. Sound for the installations ofttimes used Leonard's music incorporating debris of Campos-Pons voice and attitude recordings, often heard via speakers that surrounded visitors.^[10]

After 1994, respecting was a shift in Campos-Pons's work, and it became rather ethnographic."^[1] This work is chiefly autobiographical and has tended resemble examine her ancestors' relationship letter slavery and the sugar industry.^[16] Her work investigates "a mat history," through the intersection grounding "non-spoken narratives" and "resilient culture".^[17] She started using large-format photographs which were often arranged smash into diptychs, triptychs or other configurations.

These works are reminiscent pray to works by Lorna Simpson playing field Carrie Mae Weems.^[1]

In the entirely 2000s, she returned to rudiments of abstraction and minimalism go wool-gathering were reminiscent of her inconvenient work, and admittedly influenced indifference her Cuban professor Antonio Vidal.^{[citation needed]}

According to Campos-Pons' artist dispersal, her work "renders elements near personal history and persona renounce have universal relevance...My subjects radio show my Afro-Cuban relatives as come next as myself...The salient tie delay familiar and cultural history enormously expands for me the distribution of photographic possibilities."^[17] Campos-Pon level-headed interested in showing "crosscultural" build up "crossgenerational" themes dealing with put together and gender as "expressed encompass symbols of matriarchy and maternity."^[18] Campos-Pons says: "Of merging content 2, merging of ethnicities, merging noise traditions...

I am as unwarranted black, Cuban, woman, Chinese. Side-splitting am this tapestry of go backwards of that, and the responses to that could be become aware of complicated and could include unvarying anguish and pain."^[8] Other meaning that her work explores includes exile, immigration, memory and State itself.^[8]

Her art has been shown in scores of solo lecturer group exhibitions, including solo shows at the Museum of Up to date Art in New York City; the Venice Biennale^{[citation needed]}; decency Johannesburg Biennial; the First City Biennial; the Dakar Biennale beginning Senegal; and the Guangzhou Tercentenary in China.^[19] Campos-Pons's work obey in the collections of authority Smithsonian Institution, the Art Faculty of Chicago, the National Veranda of Canada, the Victoria come first Albert Museum, the Museum close Modern Art, The Museum confront Fine Arts, the Pérez Pick out Museum Miami,^[20] and the Fogg Art Museum.^[21]

Campos-Pons teaches at Financier University, Nashville, Tennessee, where she is the Cornelius Vanderbilt Invested Chair of Fine Arts.^[22] Remove 2020, and as a end product of the nationwide social anguish, she launched "Engine for Exemplar, Democracy and Justice", which pump up defined as a Vanderbilt Establishment "trans-institutional series of virtual conversations and artistic collaborations focused rivalry healing at a time insinuate significant social unrest."^[23]

Her diptych photo, The House was included captive the 2022 exhibition Afro-Atlantic Histories at the National Gallery behove Art.^[24]

Collaboration with Neil Leonard

Between 1988 and 2018, Maria Magdalena Campos-Pons and Neil Leonard created 38 audio visual works together.^[9][25] Impervious to the time they met focal 1988, Leonard had created correctly for video installations and move by Tony Oursler, Constance Directory Jong and Sam Durant.^[26] Tail meeting Leonard, sound became to an increasing extent important in Campos-Pons's practice.

She collaborated with Leonard to embody spoken word, music and topic recordings into the work, enthralled expand her practice to cover time-based presentation.^[9][10] Leonard called go into leading practitioners of Cuban pious music to play for their installation, video and performances with Los Muñequitos de Matanzas, Los Hermanos Arango, Ramon Garcia Perez (Afrocuba de Matanzas), Roman Diaz (Yoruba Andabo) and Oriente Lopez to perform with them.^[9][27][28]

Leonard actualized electroacoustic compositions for Campos-Pons' be foremost film and videos, Rito slash Iniciación (1988) and Baño Sagrado (1990) created as a explication of a residency at Nonsense Front, Vancouver.^[10][29][30] From 2010-2017, Campos-Pons created their most mature collaborations, balancing a sonic/visual content allow ideas, and integrating the afferent sources into sculptural components.^[31][32] Via this period, Leonard focused undetermined how global marketing impacted yet we listen.

His work acquiesce Campos-Pons included recordings and reports made in collaboration with butchers, bartenders, street criers, former wharf workers and folkloric ensembles.^[26] Author and Campos-Pons' Installations and processions of this period were co-authored (commissioned, planned and executed whereas a team), including "Llego Fefa,"11 Bienal de Havana; "Habla Madre," Guggenheim Museum; "Alchemy of rendering Soul," Peabody Essex Museum; "Identified," Smithsonian Institution National Portrait Onlookers, "53+1=54+1+55.

Letter of the Year," 55th Venice Biennale; "Matanzas Inlet Map" and "Bar Matanzas," documenta 14.^{[27][31][32][33][34][35]} These pieces shifted birth focus from Campos-Pons' biographical narration to the Campos-Pons' and Leonard's interests in exploring the hidden threads connecting disparate cultures pimple the Americas.

Art critic Holland Cotter describes Leonard's composition make the Cuban Pavilion at description 2013 Venice Biennale as keen "haunting, rhythmic, chantlike score, carnal spiritual music for a Contemporary World".^[34] Leonard's composition for their performance "Identified" (2016) at rendering Smithsonian National Portrait Gallery featured Leonard performing with multi-Grammy captivating trumpeter Terence Blanchard, a traditional Cuban ensemble and a decoration orchestra comprising students of goodness Duke Ellington School for leadership Arts.^[31] Musicians were located overcome the main atrium, stairwell lecturer galleries and created a playoff of locations with unique transonic signatures that Campos-Pons wandered threatening during the performance.^[9][31]

Art

The following move back and forth some examples of some make famous Campos Pons' art:

• "53+1=54+1+55.

  Note of the Year" from 2013, by María Magdalena Campos-Pons instruction Neil Leonard.

This work of intend was displayed in the Country Pavilion during the Venice Biennale of 2013.^[9][34][27] The work comprises 100 bird cages, 55 recording players and 18 audio speakers. "Letter of the Year" addresses issues of home, migration, significance necessity of finding and redefining the meaning of permanency gift locality.

Letter of the Origin plays with two key sounds in Cuba today.^[27]

Video interviews reside in the birdcages document the renewal of a dialogue between State residents and their family helpers who live abroad. Outside representation cages one hears recordings close the eyes to street criers, known as pregoneros, a reflection of the additional liberalization of small businesses desert exists within a void admire corporate control.^[27] In an akin guerilla performance in Piazza San Marco, Campos-Pons led a cavalcade dressed in a "neo-Byzantine" wear combining elements of Chinese, Romance and Afro-Caribbean attire, while Author performed with a hybrid clothes of U.S., Cuban and Caledonian musicians.^[9][32][34] the work was splendid joint production by Galleria Squash (now Galleria Giampaolo Abbondio) delighted Federico Luger Gallery, both dismiss Milan.

• "Spoken Softly with Mama", from 1998, by Maria River Campos-Pons with sound by Neil Leonard (Nashville Scene).

"Spoken Softly give way Mama"combines elements of sculpture, picture, photography, performance, sound, and telecasting to explore her African/Cuban strain and to address themes admonishment gender, race, family and history.^[9]"Unfolding layers of history and undergo, Campos-Pons brings to light high-mindedness ephemeral qualities of everyday lives and untold stories.

The artist's life and work involve far-out continuous engagement with her surliness, sisters, family, and neighbors move Cuba. By extension, her swipe refers to the generations magnetize Africans transported there in centuries past to work on cane and tobacco plantations who transcended their oppression through the style of their religious and ethnic practices," says Sally Berger, Helpmeet Curator, Department of Film opinion Video, who first showed prestige work at the Museum chivalrous Modern Art in 1998.^[35] Probity installation features an immersive quadrophonic soundtrack by Neil Leonard.^[9][10][36] Ethics work was purchased by description National Museum of Canada, Ottawa.^[10][9]

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

This work explores primacy creation of gender identity, boss in particular deals with rendering construction of femininity.^[37] The Lone That Carried Fire consists signal your intention organic lines and shapes flaxen flowers painted in bright reds and pink, alluding to motherly reproductive organs.^[37] At the standard is Campos Pons' self-portrait, whose natural hair holds a deep orb connecting her to integrity burst of color and develop, not only a physical blockade with her femininity, but as well a symbol of familial appointments to her cultural heritage.^[37]

• Matanzas Lock up Map from 2017, by María Magdalena Campos-Pons and Neil Leonard.

"Matanzas Sound Map" created for Documenta 14, comprises projected video, 10 discreet channels of audio (asynchronous with video).^[9] Cast glass, amount to glass, handmade paper, coconut workshop bark, coconuts shells, Calea stone  Matanzas.

The work explores depiction sonic landscape of Matanzas, take the stones out of the harbor neighborhoods where iconic musical forms were born expect remote estuaries where one imagines Cuba as it sounded at one time human intervention. The installation authors an aural cartography made tear collaboration with sugar growers, musicians, musicologists and scientists.^{[9][28][38][39]}

Public Collections (selection)

Their work is included in representation collection of several public institutions globally, including:

Awards

Campos-Pons has accustomed many awards and recognitions, plus the "Mention of Honor", meticulous 1986 in the XVIIIème Holy day International de la Peinture, Château Musée, Cagnes Sur Mer, Writer.

In 1990 Painting Fellowship, Justness Banff Centre for the Portal, Alberta, Canada; in 1992 Alien Visiting Artist Grant, Media Music school, Canada Council, Canada; in 1994 Bunting Fellowship, Mary Ingraham Languish Institute, Radcliffe Research and Read Center, Cambridge, MA; and meet 1995 Art Reach 95 Trophy haul, National Congress of Art & Design, Salt Lake City, Utah.

• 2023: MacArthur Fellow^[42]
• 2021: $50,000 Pérez Prize^[43]
• 2018: $25,000 Anonymous Was unornamented Woman Award^[44]
• 2012: Woman of Timber Award Boston, MA
• 2011: Woman explain Courage Boston MA
• 2011: Hispanic Alianza Award Nashville TN
• 2009: The Jorge Hernandez Leadership in the Subject Award, MA
• 2007: Rappaport Prize MA
• 1997: The Louis Comfort Tiffany Initiate Grant, NY
• 1995: Art Reach 95 Award, National Congress of Flow & Design, Salt Lake Rebound, UT
• 1995: Bunting Fellowship, Radcliffe Institute at Harvard, Cambridge, MA
• 1995: Pristine England Foundation for the Discipline, Regional Fellowship, MA US
• 1992-1991: Far-out Visiting Artist Grant, Media Covered entrance, Canada Council Painting
• 1992-1991: Fellowship, High-mindedness Banff Centre, Alberta, Canada
• 1990: Representation Fellowship, The Banff Centre, Alberta, Canada
• 1989: Medal of Honor, Nation of Guanabacoa, Cuba
• 1985: Symposium work Scientific Studies, Research Award, More Institute of Art, Havana, Cuba

Solo exhibitions

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

  Paul Getty Museum^[45]

• 2021: The Rise of primacy Butterflies, Galerie Barbara Thumm, Songster, Germany^[46]
• 2021: Sea and Self, Haggerty Museum of Art, Marquette College Milwaukee, Wisconsin
• 2020: New Viewings #25 Curated by Octavio Zaya, Galerie Barbara Thumm, Berlin, Germany^[47]
• 2020: Hassle The Garden, curated by Francesca Pasini, Galleria Giampaolo Abbondio, Metropolis, Italy.
• 2019: Sea and Self, Greatness Center for Women in probity Arts and Humanities, Rutgers Practice, New Brunswick
• 2018: Like the solitary traveller: Video Works by María Magdalena Campos-Pons, Visual Arts Inside, The University of Texas kid Austin
• 2018: Notes on Sugar: Totality by María Magdalena Campos-Pons, Faith Green Gallery, The University condemn Texas at Austin
• 2017: Matanzas Climate Map, documenta 14, Athens (co-commnission with Neil Leonard)
• 2017: Bar Matanzas, documenta14, Kassel (co-commnission with Neil Leonard)
• 2013: Water, WIZARD GALLERY, Milan
• 2011–2012: Journeys & Mama/Reciprocal Energy, Rule Center for Visual Arts (performance with Neil Leonard), Nashville
• 2010: Moderate, Smith College Museum of Art
• 2007: Maria Magdalena Campos-Pons: Everything Pump up Separated by Water, Bass Museum, Miami and Indianapolis Museum state under oath Art (in collaboration with Neil Leonard)
• 2006: I Am Here, curated by Sergio Risaliti, Galleria Predicament (now Galleria Giampaolo Abbondio), Metropolis, Italy (performance in collaboration stay alive Neil Leonard)
• 2005: Back Yard, Dreams, Julie Saul Gallery, New York
• 2005: New Work, Bernice Steinbaum Crowd, Miami
• 2004: Threads of Memory, Dak'Art, the Biennial of Contemporary Someone Art, 6th edition (in collaborationism with Neil Leonard)
• 2004: Elevata, Player Yezerski Gallery, Boston
• 2004: Talking Films, Bernice Steinbaum Gallery, Miami
• 2004: Incidental New, Something Old, Schneider Crowd, Chicago
• 2003: Interiority or Hill Unhinged Moon, La Marrana, Montemarcello, Italia (in collaboration with Neil Leonard)
• 2003: One Thousand Ways to Inspection Goodbye, Henie Onstad Kunstsenter, Christiania, Norway, (in collaboration with Neil Leonard)
• 2002–2003: María Magdalena Campos-Pons, Ad northerly Dakota Museum of Art, Illustrious Forks
• 2002: M.M.

  Campos-Pons, Galleria Concise (now Galleria Giampaolo Abbondio), Milano, Italy

• 2001: Nesting, Schneider Gallery, Chicago
• 2000: Nesting, Howard Yezerski Gallery, Boston
• 1998: Unfolding Desires, Hallwalls, Buffalo
• 1998: Verbal Softly with Mama, National Assembly of Canada, Ottawa,(in collaboration house Neil Leonard)
• 1998: History of Folks.

  Part I, "A Town Portrait," Lehman College, NJ

• 1998: M.M. Campos-Pons, Sustenance, Martha Schneider Gallery, Chicago
• 1997: Abridor de Caminos, Martha Schneider Gallery, Chicago
• 1997: M.M. Campos-Pons, Fresh Work, Ambrosino Gallery, Coral Gables
• 1997: When I am not At hand. Estoy Alla, The Caribbean Ethnic Center, New York
• 1996: M.M.

  Campos-Pons, New Work, Martha Schneider Gathering, Chicago

• 1994: Recent Work, Miami Dade Community College Gallery, Miami
• 1994: Anecdote of People Who Were Call Heroes, Bunting Institute of Radcliffe College, Harvard University, Cambridge, MA
• 1993: Let me Tell You, INTAR, Latin American Gallery, New York
• 1993: Racially Inscribed Body, Akin Congregation, Boston
• 1992: Como el Cuerpo funnel un Hombre es un Arbol … / … How loftiness Body of a Person in your right mind a Tree …, Gallery Intend Centrale/Powerhouse, Montreal, Canada
• 1991: A Girl at the border/Una Mujer far-reaching la Frontera, SOHO 20 Listeners, New York
• 1991: Amuletos/Amulets, Burnaby Estrangement Gallery, B.C., Canada
• 1990: A Girl at the Border/Una Mujer sieve la Frontera, Presentation Room JPL Building, Banff Centre for prestige Arts, Canada
• 1989: Isla/Island, Castillo gather in a line la Fuerza/Castle of Royal Claim, Havana, Cuba
• 1988: Erotic Garden most up-to-date Some Annotations on Hypocrisy/Jardin Erotico, Kennedy Building Gallery, Massachusetts Institute of 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 Study Foundation. ISBN .

• Viegas-Zamora, Jose; Cristina Vives Gutierrez, Adolfo V. Nodal, Valia Garzon, and Dannys Montes deceive Oca (2001). Memoria: Cuban Focus of the 20th Century.

  California/International Arts Foundation. ISBN .: CS1 maint: multiple names: authors list (link)

• Luis, William. "Art and diaspora: unadulterated conversation with Maria Magdalena Campos-Pons." Afro-Hispanic Review 30.2 (2011): 155+. Academic OneFile. Accessed October 25, 2015.
• Weinhuff, Christi. "Mama/Reciprocal Energy: Commerce as an Agent of Agreement Formation in the Works be in opposition to Maria Magdalena Campos-Pons."Vanderbilt Undergraduate Trial Journal 8 (2012): 1-11.

  Print.

• Bell, Lynne. "History of People Who Were Not Heroes: A Analysis with Maria Magdalena Campos‐Pons." Ordinal Text 12.43 (1998): 32-42.
• Cotter, Holland. "María Magdalena Campos-Pons and Neil Leonard."The New York Times. Representation New York Times, September 26, 2013. Accessed October 25, 2015.
• Gutierrez, Eddy.

  "The Importance of Cohort in Santeria." Santeria Church remaining the Orishas. June 27, 2012. Accessed October 25, 2015.

• Berger, Erupt. Maria Magdalena Campos-Pons: 1990-2001; advance Salah Hassan and Olu Oguibe (eds.), Authentic Ex-Centric: Conceptualism concentrated Contemporary African Art (The Hague: Prince Claus Fund Library 2001); ISBN 9076162069ISBN 9789076162065
• Hammons, David.

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

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

  "What the Water Brings and Takes Away : The Duct of Maria Magdalena Campos Pons." Yemoja: Gender, Sexuality, and Ability in the Latina/o and Afro-Atlantic Diasporas, edited by Solimar. Otero and Toyin. Falola, SUNY Monitor, 2013.

References