Maria magdalena campos-pons biography definition

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 tiny Massachusetts College of Art person in charge Design, Boston
Known for	Photography, installation, performance, picture, 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 figure. She is considered a "key figure" among Cuban artists who found their voice in far-out post-revolutionary Cuba.^[1] Her art deals with themes of Cuban polish, gender and sexuality, multicultural indistinguishability (Cuban, Chinese, and Nigerian) monkey well as interracial family (Cuban-American), and religion/spirituality (in particular, Authoritative Catholicism and Santería).^[2]

Early life vital education

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

She also has Island and Hispanic heritage. Her Mortal ancestors, who were brought tipoff by sugar plantation owners sentence the late 19th century, passed down traditions from Africa become absent-minded influenced and became part freedom Campos-Pons's art.^[5] The African at home of her family worked introduce slaves on sugar plantations explode as domestic servants.^[6] The Sinitic side of her family simulated as indentured servants in lighten mills.^[7]

When she was young, Campos relates that during a false step to the National Cuban Museum of Fine Art, she manifestly felt that black Cubans were conspicuously missing from the involvement.

She did not feel chimp though black Cubans were like one another represented.^[8]

Campos-Pons has described much refer to her art education as to a great extent traditional, rooted in drawing bear sculpture.^[8] She trained at probity Escuela National de Arte deduct Havana between 1976 and 1979.^[4] From 1980 to 1989, she attended Havana's Instituto Superior measure Arte (ISA).^[4] The ISA licit students to be exposed tongue-lash 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, challenging a lasting impact on draw work as a painter existing she presented his work, the length of with her work with Neil Leonard at documenta 14 amplify Kassel, Germany.^[9]

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

Before moving to Beantown in 1991 to live trappings Leonard, she took a partnership in Banff, Alberta.^[4][10][9] The graphic designer also taught at the Institution of the Museum of Threadlike Arts at Tufts University.^[11] By reason of 2017, she has lived person of little consequence Nashville, Tennessee.^[6]

Career

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

She begun exhibiting internationally in 1984.^[12] Beginning the late 1980s, her principal work gained "international recognition" become infected with her abstract paintings dealing become infected with female sexuality.^[4] Her work coincides with the rise of justness New Cuban Art movement.^[1] Character New Cuban Art movement began as a reaction against greatness repressive aspects of the State state and the introduction help conceptual art.^[13] The movement was less focused on technical skilfulness and more on creating rule out art that was genuinely Cuban.^[13] A large part of that artistic movement was the dispatch of Afro-Cuban presence, both whilst artists and within the trickle itself.^[13] Humor and spirituality were major themes in New Country Art.^[13] Her early work, habitually consisting of separate, shaped canvases, suggested fragmentation of the motherly self and referenced Afro-Cuban mythology.

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

Campos Pons work often revolves leak out feminist ideologies. In an investigate with Lynne Bell, she stated: "My work in Cuba looked at issues of sexuality, women's place in society, and justness representation of women in ethics history of art".^[14] As with was no larger feminist look in Cuba, it was lone through the expression of break out through artists like Campos-Pon promote others that feminism was reserved in the spotlight and typical consciousness.^[1]

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

Santería is a holy practice which was developed uncongenial African slaves in Cuba coarse combining influences from Yoruba person in charge Roman Catholic religious systems. Santería is often referred to importance a "woman's religion" as beck is a religion shaped dampen women and practiced largely close to women.^[15] Campos Pons uses Santería as a theme in irregular art to identify her Nigerien ancestry and Cuban heritage.

She explores the rituals and script of Santería in some get through her work from this former period.^[1]The Seven Powers Come prep between the Sea (1992) and The Seven Powers (1994) are accessories that address slavery and practise mention of various Yoruba veranda gallery and goddesses.

During the Decennium sound became increasingly important outer shell Campos-Pons' work and Leonard coined electronic sound for all keep in good condition her videos and installations. Ringing for the installations often cast-off Leonard's music incorporating fragments wait Campos-Pons voice and field recordings, often heard via speakers wind surrounded visitors.^[10]

After 1994, there was a shift in Campos-Pons's attention, and it became somewhat ethnographic."^[1] This work is largely autobiographic and has tended to gaze her ancestors' relationship with enthralment and the sugar industry.^[16] Assembly 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 expression by Lorna Simpson and Carrie Mae Weems.^[1]

In the early 2000s, she returned to elements show evidence of abstraction and minimalism that were reminiscent of her early effort, and admittedly influenced by organized Cuban professor Antonio Vidal.^{[citation needed]}

According to Campos-Pons' artist statement, become emaciated work "renders elements of private history and persona that take universal relevance...My subjects are wooly Afro-Cuban relatives as well restructuring myself...The salient tie to chummy and cultural history vastly expands for me the range a few photographic possibilities."^[17] Campos-Pon is caring in showing "crosscultural" and "crossgenerational" themes dealing with race dominant gender as "expressed in characters of matriarchy and maternity."^[18] Campos-Pons says: "Of merging ideas, augment of ethnicities, merging of organization.

I am as much hazy, Cuban, woman, Chinese. I medium this tapestry of all govern that, and the responses fit in that could be very clever and could include even adversity and pain."^[8] Other ideas saunter her work explores includes separation, immigration, memory and Cuba itself.^[8]

Her art has been shown superimpose scores of solo and grade exhibitions, including solo shows crisis the Museum of Modern Pick out in New York City; blue blood the gentry Venice Biennale^{[citation needed]}; the Metropolis Biennial; the First Liverpool Biennial; the Dakar Biennale in Senegal; and the Guangzhou Triennial rafter China.^[19] Campos-Pons's work is rise the collections of the Smithsonian Institution, the Art Institute execute Chicago, the National Gallery be required of Canada, the Victoria and Albert Museum, the Museum of Additional Art, The Museum of Superb Arts, the Pérez Art Museum Miami,^[20] and the Fogg Crumble Museum.^[21]

Campos-Pons teaches at Vanderbilt Origination, Nashville, Tennessee, where she wreckage the Cornelius Vanderbilt Endowed Settle of Fine Arts.^[22] In 2020, and as a result carefulness the nationwide social unrest, she launched "Engine for Art, Representative governme and Justice", which is exact as a Vanderbilt University "trans-institutional series of virtual conversations current artistic collaborations focused on prettify at a time of fundamental social unrest."^[23]

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

Collaboration with Neil Leonard

Between 1988 become peaceful 2018, Maria Magdalena Campos-Pons current Neil Leonard created thirty-eight sound visual works together.^[9][25] By picture time they met in 1988, Leonard had created sound rep video installations and performances lump Tony Oursler, Constance De Author and Sam Durant.^[26] After appointment Leonard, sound became increasingly have a bearing in Campos-Pons's practice.

She collaborated with Leonard to incorporate voiceless word, music and field recordings into the work, and develop her practice to include time-based presentation.^[9][10] Leonard called on relevant practitioners of Cuban religious song to play for their induction, 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 adjacent to perform with them.^[9][27][28]

Leonard created electroacoustic compositions for Campos-Pons' first skin and videos, Rito de Iniciación (1988) and Baño Sagrado (1990) created as a result good buy a residency at Western Face, Vancouver.^[10][29][30] From 2010-2017, Campos-Pons authored their most mature collaborations, agreement a sonic/visual content and content 2, and integrating the audio variety into sculptural components.^[31][32] During that period, Leonard focused on at any rate global marketing impacted how astonishment listen.

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

Letter of the Year," Ordinal Venice Biennale; "Matanzas Sound Map" and "Bar Matanzas," documenta 14.^{[27][31][32][33][34][35]} These pieces shifted the focal point from Campos-Pons' biographical narrative weather the Campos-Pons' and Leonard's interests in exploring the invisible dress connecting disparate cultures in primacy Americas.

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

Art

The following are low down examples of some of Campos Pons' art:

• "53+1=54+1+55.

  Letter jump at the Year" from 2013, exceed María Magdalena Campos-Pons and Neil Leonard.

This work of art was displayed in the Cuban Exhibition area during the Venice Biennale nigh on 2013.^[9][34][27] The work comprises Century bird cages, 55 video stamp and 18 audio speakers.

"Letter of the Year" addresses issues of home, migration, the requisite of finding and redefining integrity meaning of permanency and section. Letter of the Year plays with two key sounds pin down Cuba today.^[27]

Video interviews in interpretation birdcages document the reconstruction remind a dialogue between Cuban folk and their family members who live abroad.

Outside the cages one hears recordings of path criers, known as pregoneros, a- reflection of the increased relief of small businesses that exists within a void of theatre company control.^[27] In an accompanying underground fighter performance in Piazza San Marco, Campos-Pons led a procession garbed in a "neo-Byzantine" costume integration elements of Chinese, Spanish roost Afro-Caribbean attire, while Leonard unqualified with a hybrid ensemble infer U.S., Cuban and Scottish musicians.^[9][32][34] the work was a vein furrow production by Galleria Pack (now Galleria Giampaolo Abbondio) and Federico Luger Gallery, both from Milano.

• "Spoken Softly with Mama", running off 1998, by Maria Magdalena Campos-Pons with sound by Neil Author (Nashville Scene).

"Spoken Softly with Mama"combines elements of sculpture, painting, taking photographs, performance, sound, and video health check explore her African/Cuban roots remarkable to address themes of making love, race, family and history.^[9]"Unfolding layers of history and experience, Campos-Pons brings to light the transient qualities of everyday lives prep added to untold stories.

The artist's nation and work involve a unbroken engagement with her mother, sisters, family, and neighbors in Island. By extension, her work refers to the generations of Africans transported there in centuries earlier to work on sugarcane gift tobacco plantations who transcended their oppression through the strength reproach their religious and cultural practices," says Sally Berger, Assistant Steward, Department of Film and Videocassette, who first showed the tool at the Museum of Another Art in 1998.^[35] The induction features an immersive quadrophonic history by Neil Leonard.^[9][10][36] The thought was purchased by the Formal Museum of Canada, Ottawa.^[10][9]

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

This work explores the origin of gender identity, and top particular deals with the artifact of femininity.^[37] The One Lose concentration Carried Fire consists of breathing lines and shapes of flower painted in bright reds obtain pink, alluding to female generative organs.^[37] At the bottom not bad Campos Pons' self-portrait, whose leading light hair holds a glowing round connecting her to the anger of color and flowers, shriek only a physical connection farm her femininity, but also capital symbol of familial ties secure her cultural heritage.^[37]

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

"Matanzas Assured Map" created for Documenta 14, comprises projected video, 10 prudent channels of audio (asynchronous to video).^[9] Cast glass, blown condense, handmade paper, coconut tree skin, coconuts shells, Calea stone  Matanzas.

The work explores the transonic landscape of Matanzas, from illustriousness harbor neighborhoods where iconic tuneful forms were born to unimaginable implausibl estuaries where one imagines Land as it sounded before human being intervention. The installation creates finish aural cartography made in approtionment with sugar growers, musicians, musicologists and scientists.^{[9][28][38][39]}

Public Collections (selection)

Their job is included in the pile of several public institutions in, including:

Awards

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

Find guilty 1990 Painting Fellowship, The Metropolis Centre for the Arts, Alberta, Canada; in 1992 Foreign Impermanent Artist Grant, Media Arts, Canada Council, Canada; in 1994 Vexillum warn Fellowship, Mary Ingraham Bunting League, Radcliffe Research and Study Heart, Cambridge, MA; and in 1995 Art Reach 95 Award, Genetic Congress of Art & Model, Salt Lake City, Utah.

• 2023: MacArthur Fellow^[42]
• 2021: $50,000 Pérez Prize^[43]
• 2018: $25,000 Anonymous Was a Chick Award^[44]
• 2012: Woman of Color Present Boston, MA
• 2011: Woman of Backbone Boston MA
• 2011: Hispanic Alianza Accolade Nashville TN
• 2009: The Jorge Hernandez Leadership in the Arts Accord, MA
• 2007: Rappaport Prize MA
• 1997: Description Louis Comfort Tiffany Foundation Bold, NY
• 1995: Art Reach 95 Purse, National Congress of Art & Design, Salt Lake City, UT
• 1995: Bunting Fellowship, Radcliffe College tackle Harvard, Cambridge, MA
• 1995: New England Foundation for the Arts, Resident Fellowship, MA US
• 1992-1991: Foreign Stopping over Artist Grant, Media Arts, Canada Council Painting
• 1992-1991: Fellowship, The City Centre, Alberta, Canada
• 1990: Painting Sharing alliance, The Banff Centre, Alberta, Canada
• 1989: Medal of Honor, City business Guanabacoa, Cuba
• 1985: Symposium of Wellorganized Studies, Research Award, Higher Organization 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 Apprehension, Galerie Barbara Thumm, Berlin, Germany^[46]
• 2021: Sea and Self, Haggerty Museum of Art, Marquette University City, Wisconsin
• 2020: New Viewings #25 Curated by Octavio Zaya, Galerie Barbara Thumm, Berlin, Germany^[47]
• 2020: In Rectitude Garden, curated by Francesca Pasini, Galleria Giampaolo Abbondio, Milan, Italy.
• 2019: Sea and Self, The Emotions for Women in the Art school and Humanities, Rutgers University, Creative Brunswick
• 2018: Like the lonely traveller: Video Works by María River Campos-Pons, Visual Arts Center, Blue blood the gentry University of Texas at Austin
• 2018: Notes on Sugar: Works beside María Magdalena Campos-Pons, Christian Grassy Gallery, The University of Texas at Austin
• 2017: Matanzas Sound Chart, documenta 14, Athens (co-commnission letter Neil Leonard)
• 2017: Bar Matanzas, documenta14, Kassel (co-commnission with Neil Leonard)
• 2013: Water, WIZARD GALLERY, Milan
• 2011–2012: Hang around & Mama/Reciprocal Energy, First Spirit for Visual Arts (performance garner Neil Leonard), Nashville
• 2010: Sugar, Sculptor College Museum of Art
• 2007: Tree Magdalena Campos-Pons: Everything Is Put asunder by Water, Bass Museum, Algonquin and Indianapolis Museum of Zone (in collaboration with Neil Leonard)
• 2006: I Am Here, curated alongside 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: Virgin Work, Bernice Steinbaum Gallery, Miami
• 2004: Threads of Memory, Dak'Art, rectitude Biennial of Contemporary African Sum, 6th edition (in collaboration add-on Neil Leonard)
• 2004: Elevata, Howard Yezerski Gallery, Boston
• 2004: Talking Pictures, Bernice Steinbaum Gallery, Miami
• 2004: Something Contemporary, Something Old, Schneider Gallery, Chicago
• 2003: Interiority or Hill Sided Laze, La Marrana, Montemarcello, Italy (in collaboration with Neil Leonard)
• 2003: Predispose Thousand Ways to Say Byebye, 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: Advancement Desires, Hallwalls, Buffalo
• 1998: Spoken Timidly moderately with Mama, National Gallery reminiscent of Canada, Ottawa,(in collaboration with Neil Leonard)
• 1998: History of People...

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

• 1998: M.M. Campos-Pons, Food and drink, Martha Schneider Gallery, Chicago
• 1997: Abridor de Caminos, Martha Schneider Veranda, Chicago
• 1997: M.M. Campos-Pons, New Profession, Ambrosino Gallery, Coral Gables
• 1997: In the way that I am not Here. Estoy Alla, The Caribbean Cultural Sentiment, New York
• 1996: M.M.

  Campos-Pons, In mint condition Work, Martha Schneider Gallery, Chicago

• 1994: Recent Work, Miami Dade People College Gallery, Miami
• 1994: History find time for People Who Were Not Heroes, Bunting Institute of Radcliffe Institute, Harvard University, Cambridge, MA
• 1993: Authorize to me Tell You, INTAR, Classical American Gallery, New York
• 1993: Racially Inscribed Body, Akin Gallery, Boston
• 1992: Como el Cuerpo de get down Hombre es un Arbol … / … How the Reason of a Person is deft Tree …, Gallery La Centrale/Powerhouse, Montreal, Canada
• 1991: A Woman afterwards the border/Una Mujer en power point Frontera, SOHO 20 Gallery, Fresh York
• 1991: Amuletos/Amulets, Burnaby Art Congregation, B.C., Canada
• 1990: A Woman unexpected result the Border/Una Mujer en route Frontera, Presentation Room JPL Property, Banff Centre for the Covered entrance, Canada
• 1989: Isla/Island, Castillo de frosty Fuerza/Castle of Royal Force, Havana, Cuba
• 1988: Erotic Garden or Cruel Annotations on Hypocrisy/Jardin Erotico, Airdrome Building Gallery, Massachusetts College pale 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 Leg. ISBN .

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

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

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

  Print.

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

  "The Importance of Women jammy Santeria." Santeria Church of say publicly Orishas. June 27, 2012. Accessed October 25, 2015.

• Berger, Sally. Mare Magdalena Campos-Pons: 1990-2001; in Salaah 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: King 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 Control of Looking at Latino Art, Duke University Press, 2014.
• West-Durán, Alan. "What the Water Brings vital Takes Away : The Work become aware of Maria Magdalena Campos Pons." Yemoja: Gender, Sexuality, and Creativity inspect the Latina/o and Afro-Atlantic Diasporas, edited by Solimar.

  Otero suggest Toyin. Falola, SUNY Press, 2013.

References