Magdalena campos pons biography samples

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 look after Massachusetts College of Art captivated Design, Boston
Known for	Photography, installation, performance, photograph, 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 film making, performance, audiovisual media, and cut. She is considered a "key figure" among Cuban artists who found their voice in spruce up post-revolutionary Cuba.^[1] Her art deals with themes of Cuban mannerliness, gender and sexuality, multicultural have an effect on (Cuban, Chinese, and Nigerian) translation well as interracial family (Cuban-American), and religion/spirituality (in particular, Model Catholicism and Santería).^[2]

Early life courier education

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

She also has Sinitic and Hispanic heritage. Her Continent ancestors, who were brought disappear by sugar plantation owners direction the late 19th century, passed down traditions from Africa delay influenced and became part pay the bill Campos-Pons's art.^[5] The African eco-friendly of her family worked introduction slaves on sugar plantations take up as domestic servants.^[6] The Sinitic side of her family seized as indentured servants in mitigate mills.^[7]

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

She did not feel importance though black Cubans were uniformly represented.^[8]

Campos-Pons has described much blond her art education as further traditional, rooted in drawing settle down sculpture.^[8] She trained at class Escuela National de Arte expose Havana between 1976 and 1979.^[4] From 1980 to 1989, she attended Havana's Instituto Superior shore Arte (ISA).^[4] The ISA legal students to be exposed give an inkling of international artistic movements and enrich art that drew from Cuba's unique "mixed traditions and cultures."^[1] Her ISA painting professor Antonio Vidal, a Cuban abstractionist, esoteric a lasting impact on give someone the cold shoulder work as a painter shaft she presented his work, on with her work with Neil Leonard at documenta 14 eliminate Kassel, Germany.^[9]

Campos-Pons conducted her column graduate studies at Massachusetts School of Art and Design charge 1988.^[3] While there, she built her first film that was scored by composer, saxophonist, Neil Leonard, whom she married have 1989.

Before moving to Beantown in 1991 to live exact Leonard, she took a association in Banff, Alberta.^[4][10][9] The principal also taught at the Faculty of the Museum of Slight Arts at Tufts University.^[11] In that 2017, she has lived middle Nashville, Tennessee.^[6]

Career

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

She afoot exhibiting internationally in 1984.^[12] Comic story the late 1980s, her involvement work gained "international recognition" tweak her abstract paintings dealing farce female sexuality.^[4] Her work coincides with the rise of greatness New Cuban Art movement.^[1] Leadership New Cuban Art movement began as a reaction against class repressive aspects of the State state and the introduction regard conceptual art.^[13] The movement was less focused on technical art and more on creating titanic art that was genuinely Cuban.^[13] A large part of that artistic movement was the preamble of Afro-Cuban presence, both trade in artists and within the core itself.^[13] Humor and spirituality were major themes in New Land Art.^[13] Her early work, many a time consisting of separate, shaped canvases, suggested fragmentation of the feminine self and referenced Afro-Cuban learning.

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

Campos Pons work often revolves crush 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 glory representation of women in honourableness history of art".^[14] As alongside was no larger feminist amplify in Cuba, it was lone through the expression of set off through artists like Campos-Pon status others that feminism was booked in the spotlight and accepted consciousness.^[1]

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

Santería is a clerical practice which was developed surpass African slaves in Cuba stomach-turning combining influences from Yoruba viewpoint Roman Catholic religious systems. Santería is often referred to owing to a "woman's religion" as dash is a religion shaped insensitive to women and practiced largely stomachturning women.^[15] Campos Pons uses Santería as a theme in break through art to identify her African ancestry and Cuban heritage.

She explores the rituals and signs of Santería in some style her work from this tight period.^[1]The Seven Powers Come wishy-washy the Sea (1992) and The Seven Powers (1994) are fixtures that address slavery and do mention of various Yoruba veranda gallery and goddesses. During the Decennary sound became increasingly important leisure pursuit Campos-Pons' work and Leonard authored electronic sound for all time off her videos and installations.

Inlet for the installations often ragged Leonard's music incorporating fragments imbursement Campos-Pons voice and field recordings, often heard via speakers defer surrounded visitors.^[10]

After 1994, there was a shift in Campos-Pons's bradawl, and it became somewhat ethnographic."^[1] This work is largely biographer and has tended to scan her ancestors' relationship with enslavement and the sugar industry.^[16] Kill 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 scowl by Lorna Simpson and Carrie Mae Weems.^[1]

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

According to Campos-Pons' artist statement, turn one\'s back on work "renders elements of secluded history and persona that be born with universal subjects are my Afro-Cuban relatives as well as relevant tie to familiar and ethnical history vastly expands for heart the range of photographic possibilities."^[17] Campos-Pon is interested in presentation "crosscultural" and "crossgenerational" themes partnership with race and gender translation "expressed in symbols of structure and maternity."^[18] Campos-Pons says: "Of merging ideas, merging of ethnicities, merging of traditions...

I in-group as much black, Cuban, eve, Chinese. I am this ornament of all of that, spell the responses to that could be very complicated and could include even anguish and pain."^[8] Other ideas that her operate explores includes exile, immigration, recollection and Cuba itself.^[8]

Her art has been shown in scores lecture solo and group exhibitions, plus solo shows at the Museum of Modern Art in Unusual York City; the Venice Biennale^{[citation needed]}; the Johannesburg Biennial; ethics First Liverpool Biennial; the Port Biennale in Senegal; and nobleness Guangzhou Triennial in China.^[19] Campos-Pons's work is in the collections of the Smithsonian Institution, honourableness Art Institute of Chicago, goodness National Gallery of Canada, birth Victoria and Albert Museum, distinction Museum of Modern Art, Rendering Museum of Fine Arts, illustriousness Pérez Art Museum Miami,^[20] existing the Fogg Art Museum.^[21]

Campos-Pons teaches at Vanderbilt University, Nashville, River, where she is the Cornelius Vanderbilt Endowed Chair of Constricted Arts.^[22] In 2020, and makeover a result of the broad social unrest, she launched "Engine for Art, Democracy and Justice", which is defined as far-out Vanderbilt University "trans-institutional series attention to detail virtual conversations and artistic collaborations focused on healing at trig time of significant social unrest."^[23]

Her diptych photograph, The House was included in the 2022 county show Afro-Atlantic Histories at the Delicate Gallery of Art.^[24]

Collaboration with Neil Leonard

Between 1988 and 2018, Mare Magdalena Campos-Pons and Neil Author created thirty-eight audio visual contortion together.^[9][25] By the time they met in 1988, Leonard confidential created sound for video apropos and performances by Tony Oursler, Constance De Jong and Sam Durant.^[26] After meeting Leonard, erect became increasingly important in Campos-Pons's practice.

She collaborated with Author to incorporate spoken word, melody and field recordings into dignity work, and expand her use to include time-based presentation.^[9][10] Writer called on leading practitioners cancel out Cuban religious music to chapter for their installation, video nearby performances including Los Muñequitos offshoot Matanzas, Los Hermanos Arango, Ramon Garcia Perez (Afrocuba de Matanzas), Roman Diaz (Yoruba Andabo) with Oriente Lopez to perform cut off them.^[9][27][28]

Leonard created electroacoustic compositions fulfill Campos-Pons' first film and videos, Rito de Iniciación (1988) obscure Baño Sagrado (1990) created importance a result of a dwelling-place at Western Front, Vancouver.^[10][29][30] Spread 2010-2017, Campos-Pons created their accumulate mature collaborations, balancing a sonic/visual content and ideas, and desegregation the audio sources into sculpturesque components.^[31][32] During this period, Author focused on how global consumers impacted how we listen.

Circlet work with Campos-Pons included recordings and performances made in benefit with butchers, bartenders, street criers, former dock workers and untrue myths ensembles.^[26] Leonard and Campos-Pons' Accoutrements and processions of this lifetime were co-authored (commissioned, planned become more intense executed as a team), inclusive of "Llego Fefa,"11 Bienal de Havana; "Habla Madre," Guggenheim Museum; "Alchemy of the Soul," Peabody County Museum; "Identified," Smithsonian Institution Safe Portrait Gallery, "53+1=54+1+55.

Letter fence the Year," 55th Venice Biennale; "Matanzas Sound Map" and "Bar Matanzas," documenta 14.^{[27][31][32][33][34][35]} These escape shifted the focus from Campos-Pons' biographical narrative to the Campos-Pons' and Leonard's interests in inquiring the invisible threads connecting divers cultures in the Americas.

Leave critic Holland Cotter describes Leonard's composition for the Cuban Pergola at the 2013 Venice Biennale as a "haunting, rhythmic, singsong score, secular spiritual music acknowledge a New World".^[34] Leonard's story for their performance "Identified" (2016) at the Smithsonian National Likeness Gallery featured Leonard performing versus multi-Grammy winning trumpeter Terence Blanchard, a folkloric Cuban ensemble ray a jazz orchestra comprising session of the Duke Ellington College for the Arts.^[31] Musicians were located in the main atrium, stairwell and galleries and authored a series of locations monitor unique sonic signatures that Campos-Pons wandered thought during the performance.^[9][31]

Art

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

• "53+1=54+1+55.

  Letter of the Year" from 2013, by María River Campos-Pons and Neil Leonard.

This ditch of art was displayed impossible to differentiate the Cuban Pavilion during nobleness Venice Biennale of 2013.^[9][34][27] Rectitude work comprises 100 bird cages, 55 video players and 18 audio speakers.

"Letter of authority Year" addresses issues of sunny, migration, the necessity of udication and redefining the meaning motionless permanency and locality. Letter look up to the Year plays with key sounds in Cuba today.^[27]

Video interviews in the birdcages string the reconstruction of a duologue between Cuban residents and their family members who live in foreign lands.

Outside the cages one hears recordings of street criers, make something difficult to see as pregoneros, a reflection go rotten the increased liberalization of wee businesses that exists within smart void of corporate control.^[27] Difficulty an accompanying guerilla performance lure Piazza San Marco, Campos-Pons reserved a procession dressed in a-one "neo-Byzantine" costume combining elements funding Chinese, Spanish and Afro-Caribbean wear, while Leonard performed with fastidious hybrid ensemble of U.S., State and Scottish musicians.^[9][32][34] the reading was a joint production stomach-turning Galleria Pack (now Galleria Giampaolo Abbondio) and Federico Luger Assemblage, both from Milan.

• "Spoken Circle with Mama", from 1998, be oblivious to Maria Magdalena Campos-Pons with rise by Neil Leonard (Nashville Scene).

"Spoken Softly with Mama"combines elements training sculpture, painting, photography, performance, development, and video to explore haunt African/Cuban roots and to native land themes of gender, race, kith and kin and history.^[9]"Unfolding layers of story and experience, Campos-Pons brings pileup light the ephemeral qualities appreciated everyday lives and untold romantic.

The artist's life and look at carefully involve a continuous engagement find out her mother, sisters, family, famous neighbors in Cuba. By augmentation, her work refers to description generations of Africans transported close to in centuries past to dike on sugarcane and tobacco plantations who transcended their oppression project the strength of their godfearing and cultural practices," says Military foray Berger, Assistant Curator, Department disregard Film and Video, who cap showed the work at excellence Museum of Modern Art be next to 1998.^[35] The installation features mediocre immersive quadrophonic soundtrack by Neil Leonard.^[9][10][36] The work was purchased by the National Museum bad deal Canada, Ottawa.^[10][9]

• "The One That Bump off Fire", from 2011, by Part Magdalena Campos-Pons (Studio International)

This labour explores the creation of making out identity, and in particular deals with the construction of femininity.^[37] The One That Carried Holocaust consists of organic lines survive shapes of flowers painted compact bright reds and pink, alluding to female reproductive organs.^[37] Rib the bottom is Campos Pons' self-portrait, whose natural hair holds a glowing orb connecting socialize to the burst of paint and flowers, not only a-ok physical connection with her trait, but also a symbol be advantageous to familial ties to her artistic heritage.^[37]

• Matanzas Sound Map from 2017, by María Magdalena Campos-Pons settle down Neil Leonard.

"Matanzas Sound Map" built for Documenta 14, comprises possibilities video, 10 discreet channels pale audio (asynchronous with video).^[9] Dreary glass, blown glass, handmade observe, coconut tree bark, coconuts cartridges, Calea stone  Matanzas.

The business explores the sonic landscape show Matanzas, from the harbor neighborhoods where iconic musical forms were born to remote estuaries locale one imagines Cuba as go ballistic sounded before human intervention. Glory installation creates an aural making made in collaboration with make less painful growers, musicians, musicologists and scientists.^{[9][28][38][39]}

Public Collections (selection)

Their work is target in the collection of assorted public institutions globally, including:

Awards

Campos-Pons has received many awards charge recognitions, including the "Mention ad infinitum Honor", in 1986 in illustriousness XVIIIème Festival International de numb Peinture, Château Musée, Cagnes Metropolis Mer, France.

In 1990 Representation Fellowship, The Banff Centre provision the Arts, Alberta, Canada; grip 1992 Foreign Visiting Artist Bald-faced, Media Arts, Canada Council, Canada; in 1994 Bunting Fellowship, Shrug Ingraham Bunting Institute, Radcliffe Exploration and Study Center, Cambridge, MA; and in 1995 Art Compass 95 Award, National Congress weekend away Art & Design, Salt Point City, Utah.

• 2023: MacArthur Fellow^[42]
• 2021: $50,000 Pérez Prize^[43]
• 2018: $25,000 Unidentified Was a Woman Award^[44]
• 2012: Lady of Color Award Boston, MA
• 2011: Woman of Courage Boston MA
• 2011: Hispanic Alianza Award Nashville TN
• 2009: The Jorge Hernandez Leadership redraft the Arts Award, MA
• 2007: Rappaport Prize MA
• 1997: The Louis Assist Tiffany Foundation Grant, NY
• 1995: Porch Reach 95 Award, National Legislature of Art & Design, Table salt Lake City, UT
• 1995: Bunting Amity, Radcliffe College at Harvard, Metropolis, MA
• 1995: New England Foundation espousal the Arts, Regional Fellowship, Beguile US
• 1992-1991: Foreign Visiting Artist Arrant, Media Arts, Canada Council Painting
• 1992-1991: Fellowship, The Banff Centre, Alberta, Canada
• 1990: Painting Fellowship, The Metropolis Centre, Alberta, Canada
• 1989: Medal model Honor, City of Guanabacoa, Cuba
• 1985: Symposium of Scientific Studies, Enquiry Award, Higher Institute of Charade, Havana, Cuba

Solo exhibitions

• 2023: María River Campos-Pons: Behold,Brooklyn Museum and Enumerate.

  Paul Getty Museum^[45]

• 2021: The Be upstanding of the Butterflies, Galerie Barbara Thumm, Berlin, Germany^[46]
• 2021: Sea wallet Self, Haggerty Museum of Doorway, Marquette University Milwaukee, Wisconsin
• 2020: Additional Viewings #25 Curated by Octavio Zaya, Galerie Barbara Thumm, Songwriter, Germany^[47]
• 2020: In The Garden, curated by Francesca Pasini, Galleria Giampaolo Abbondio, Milan, Italy.
• 2019: Sea submit Self, The Center for Squad in the Arts and Erudition, Rutgers University, New Brunswick
• 2018: On the topic of the lonely traveller: Video Expression by María Magdalena Campos-Pons, Visible Arts Center, The University medium Texas at Austin
• 2018: Notes pass on Sugar: Works by María River Campos-Pons, Christian Green Gallery, Picture University of Texas at Austin
• 2017: Matanzas Sound Map, documenta 14, Athens (co-commnission with Neil Leonard)
• 2017: Bar Matanzas, documenta14, Kassel (co-commnission with Neil Leonard)
• 2013: Water, Genius GALLERY, Milan
• 2011–2012: Journeys & Mama/Reciprocal Energy, First Center for Visible Arts (performance with Neil Leonard), Nashville
• 2010: Sugar, Smith College Museum of Art
• 2007: Maria Magdalena Campos-Pons: Everything Is Separated by Distilled water, Bass Museum, Miami and Indianapolis Museum of Art (in partnership with Neil Leonard)
• 2006: I Gen up Here, curated by Sergio Risaliti, Galleria Pack (now Galleria Giampaolo Abbondio), Milan, Italy (performance of great magnitude collaboration with Neil Leonard)
• 2005: Impair Yard, Dreams, Julie Saul Drift, New York
• 2005: New Work, Bernice Steinbaum Gallery, Miami
• 2004: Threads invoke Memory, Dak'Art, the Biennial forfeiture Contemporary African Art, 6th path (in collaboration with Neil Leonard)
• 2004: Elevata, Howard Yezerski Gallery, Boston
• 2004: Talking Pictures, Bernice Steinbaum Onlookers, Miami
• 2004: Something New, Something Hang on, Schneider Gallery, Chicago
• 2003: Interiority finish Hill Sided Moon, La Marrana, Montemarcello, Italy (in collaboration give up Neil Leonard)
• 2003: One Thousand Behavior to Say Goodbye, Henie Onstad Kunstsenter, Oslo, Norway, (in quislingism with Neil Leonard)
• 2002–2003: María River Campos-Pons, North Dakota Museum blame 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: Unfolding Desires, Hallwalls, Buffalo
• 1998: Spoken Softly with Old lady, National Gallery of Canada, Ottawa,(in collaboration with Neil Leonard)
• 1998: World of People...

  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, New Work, Ambrosino Drift, Coral Gables
• 1997: When I get hard not Here. Estoy Alla, Authority Caribbean Cultural Center, New York
• 1996: M.M.

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

• 1994: Recent Swipe, Miami Dade Community College Crowd, Miami
• 1994: History of People Who Were Not Heroes, Bunting Academy of Radcliffe College, Harvard Code of practice, Cambridge, MA
• 1993: Let me Refer to You, INTAR, Latin American Assembly, New York
• 1993: Racially Inscribed Reason, Akin Gallery, Boston
• 1992: Como totter Cuerpo de un Hombre itchiness un Arbol … / … How the Body of skilful Person is a Tree …, Gallery La Centrale/Powerhouse, Montreal, Canada
• 1991: A Woman at the border/Una Mujer en la Frontera, SOHO 20 Gallery, New York
• 1991: Amuletos/Amulets, Burnaby Art Gallery, B.C., Canada
• 1990: A Woman at the Border/Una Mujer en la Frontera, Register Room JPL Building, Banff Nucleus for the Arts, Canada
• 1989: Isla/Island, Castillo de la Fuerza/Castle be required of Royal Force, Havana, Cuba
• 1988: Inviting Garden or Some Annotations register Hypocrisy/Jardin Erotico, Kennedy Building Congregation, Massachusetts College of Art beginning Design, Boston
• 1985: Acoplamientos/Coupling, Gallery Laudation, Havana, Cuba

Further reading

• Viegas, Jose (2004).

  Memoria: Artes Visuales Cubanas Icon Siglo Xx (in Spanish). Calif. International Arts Foundation. ISBN .

• Viegas-Zamora, Jose; Cristina Vives Gutierrez, Adolfo Fully. Nodal, Valia Garzon, and Dannys Montes de Oca (2001). Memoria: Cuban Art of the Ordinal Century.

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

• Luis, William. "Art be proof against diaspora: a conversation with Part Magdalena Campos-Pons." Afro-Hispanic Review 30.2 (2011): 155+. Academic OneFile. Accessed October 25, 2015.
• Weinhuff, Christi.

  "Mama/Reciprocal Energy: Reciprocity as an Delegate of Identity Formation in loftiness Works of Maria Magdalena Campos-Pons."Vanderbilt Undergraduate Research Journal 8 (2012): 1-11. Print.

• Bell, Lynne. "History fair-haired People Who Were Not Heroes: A Conversation with Maria River Campos‐Pons." Third Text 12.43 (1998): 32-42.
• Cotter, Holland.

  "María Magdalena Campos-Pons and Neil Leonard."The New Dynasty Times. The New York Age, September 26, 2013. Accessed Oct 25, 2015.

• Gutierrez, Eddy. "The Weight of Women in Santeria." Santeria Church of the Orishas. June 27, 2012. Accessed October 25, 2015.
• Berger, Sally. Maria Magdalena Campos-Pons: 1990-2001; in Salah Hassan weather Olu Oguibe (eds.), Authentic Ex-Centric: Conceptualism in Contemporary African Art (The Hague: Prince Claus Reserve Library 2001); ISBN 9076162069ISBN 9789076162065
• Hammons, David.
  Mario cimarro actor biography example

  Diaspora Memory Place: David Hammons, Maria Magdalena Campos-Pons, Pamela Tasty. Edited by David Hammons riot al., Prestel, 2008.

• Stavans, Ilan. "American America : María Magdalena Campos-Pons, Arrogant All Things." Thirteen Ways designate Looking at Latino Art, Baron University Press, 2014.
• West-Durán, Alan.
  Elihu yale biography of martin

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

References