525:"Spoken Softly with Mama"combines elements of sculpture, painting, photography, performance, sound, and video to explore her African/Cuban roots and to address themes of gender, race, family and history."Unfolding layers of history and experience, Campos-Pons brings to light the ephemeral qualities of everyday lives and untold stories. The artist's life and work involve a continuous engagement with her mother, sisters, family, and neighbors in Cuba. By extension, her work refers to the generations of Africans transported there in centuries past to work on sugarcane and tobacco plantations who transcended their oppression through the strength of their religious and cultural practices," says Sally Berger, Assistant Curator, Department of Film and Video, who first showed the work at the Museum of Modern Art in 1998. The installation features an immersive quadrophonic soundtrack by Neil Leonard. The work was purchased by the National Museum of Canada, Ottawa.
478:, Vancouver. From 2010-2017, Campos-Pons created their most mature collaborations, balancing a sonic/visual content and ideas, and integrating the audio sources into sculptural components. During this period, Leonard focused on how global marketing impacted how we listen. His work with Campos-Pons included recordings and performances made in collaboration with butchers, bartenders, street criers, former dock workers and folkloric ensembles. Leonard and Campos-Pons' Installations and processions of this period were co-authored (commissioned, planned and executed as a team), including "Llego Fefa,"11 Bienal de Havana; "Habla Madre," Guggenheim Museum; "Alchemy of the Soul," Peabody Essex Museum; "Identified," Smithsonian Institution National Portrait Gallery, "53+1=54+1+55. Letter of the Year,"
542:"Matanzas Sound Map" created for Documenta 14, comprises projected video, 10 discreet channels of audio (asynchronous with video). Cast glass, blown glass, handmade paper, coconut tree bark, coconuts shells, Calea stone Matanzas. The work explores the sonic landscape of Matanzas, from the harbor neighborhoods where iconic musical forms were born to remote estuaries where one imagines Cuba as it sounded before human intervention. The installation creates an aural cartography made in collaboration with sugar growers, musicians, musicologists and scientists.
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increasingly important in Campos-Pons's practice. She collaborated with
Leonard to incorporate spoken word, music and field recordings into the work, and expand her practice to include time-based presentation. Leonard called on leading practitioners of Cuban religious music to play for their installation, video and performances including Los Muñequitos de Matanzas, Los Hermanos Arango, Ramon Garcia Perez (Afrocuba de Matanzas), Roman Diaz (Yoruba Andabo) and Oriente Lopez to perform with them.
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within a void of corporate control. In an accompanying guerilla performance in Piazza San Marco, Campos-Pons led a procession dressed in a "neo-Byzantine" costume combining elements of
Chinese, Spanish and Afro-Caribbean attire, while Leonard performed with a hybrid ensemble of U.S., Cuban and Scottish musicians. the work was a joint production by Galleria Pack (now Galleria Giampaolo Abbondio) and Federico Luger Gallery, both from Milan.
330:(1994) are installations that address slavery and make mention of various Yoruba gods and goddesses. During the 1990s sound became increasingly important in Campos-Pons' work and Leonard created electronic sound for all of her videos and installations. Sound for the installations often used Leonard's music incorporating fragments of Campos-Pons voice and field recordings, often heard via speakers that surrounded visitors.
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306:. In an interview with Lynne Bell, she stated: "My work in Cuba looked at issues of sexuality, women's place in society, and the representation of women in the history of art". As there was no larger feminist movement in Cuba, it was only through the expression of art through artists like Campos-Pon and others that feminism was kept in the spotlight and popular consciousness.
282:. Her work coincides with the rise of the New Cuban Art movement. The New Cuban Art movement began as a reaction against the repressive aspects of the Cuban state and the introduction of conceptual art. The movement was less focused on technical skill and more on creating an art that was genuinely Cuban. A large part of this artistic movement was the introduction of
239:(ISA). The ISA allowed students to be exposed to international artistic movements and develop art that drew from Cuba's unique "mixed traditions and cultures." Her ISA painting professor Antonio Vidal, a Cuban abstractionist, had a lasting impact on her work as a painter and she presented his work, along with her work with Neil Leonard at documenta 14 in
172:, Tennessee. Campos-Pons works primarily in photography, performance, audiovisual media, and sculpture. She is considered a "key figure" among Cuban artists who found their voice in a post-revolutionary Cuba. Her art deals with themes of Cuban culture, gender and sexuality, multicultural identity (Cuban,
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during the Venice
Biennale of 2013. The work comprises 100 bird cages, 55 video players and 18 audio speakers. "Letter of the Year" addresses issues of home, migration, the necessity of finding and redefining the meaning of permanency and locality. Letter of the Year plays with two key sounds in Cuba
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Between 1988 and 2018, Maria
Magdalena Campos-Pons and Neil Leonard created thirty-eight audio visual works together. By the time they met in 1988, Leonard had created sound for video installations and performances by Tony Oursler, Constance De Jong and Sam Durant. After meeting Leonard, sound became
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featured
Leonard performing with multi-Grammy winning trumpeter Terence Blanchard, a folkloric Cuban ensemble and a jazz orchestra comprising students of the Duke Ellington School for the Arts. Musicians were located in the main atrium, stairwell and galleries and created a series of locations with
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and maternity." Campos-Pons says: "Of merging ideas, merging of ethnicities, merging of traditions... I am as much black, Cuban, woman, Chinese. I am this tapestry of all of that, and the responses to that could be very complicated and could include even anguish and pain." Other ideas that her work
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family members. Santería is a spiritual practice which was developed by
African slaves in Cuba by combining influences from Yoruba and Roman Catholic religious systems. Santería is often referred to as a "woman's religion" as it is a religion shaped by women and practiced largely by women. Campos
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Video interviews in the birdcages document the reconstruction of a dialogue between Cuban residents and their family members who live abroad. Outside the cages one hears recordings of street criers, known as pregoneros, a reflection of the increased liberalization of small businesses that exists
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Endowed Chair of Fine Arts. In 2020, and as a result of the nationwide social unrest, she launched "Engine for Art, Democracy and
Justice", which is defined as a Vanderbilt University "trans-institutional series of virtual conversations and artistic collaborations focused on healing at a time of
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According to Campos-Pons' artist statement, her work "renders elements of personal history and persona that have universal relevance...My subjects are my Afro-Cuban relatives as well as myself...The salient tie to familiar and cultural history vastly expands for me the range of photographic
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This work explores the creation of gender identity, and in particular deals with the construction of femininity. The One That
Carried Fire consists of organic lines and shapes of flowers painted in bright reds and pink, alluding to female reproductive organs. At the bottom is Campos Pons'
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and has tended to examine her ancestors' relationship with slavery and the sugar industry. Her work investigates "a felt history," through the intersection of "non-spoken narratives" and "resilient culture". She started using large-format photographs which were often arranged into
482:; "Matanzas Sound Map" and "Bar Matanzas," documenta 14. These pieces shifted the focus from Campos-Pons' biographical narrative to the Campos-Pons' and Leonard's interests in exploring the invisible threads connecting disparate cultures in the Americas. Art critic
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describes
Leonard's composition for the Cuban Pavilion at the 2013 Venice Biennale as a "haunting, rhythmic, chantlike score, secular spiritual music for a New World". Leonard's composition for their performance "Identified" (2016) at the
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presence, both as artists and within the art itself. Humor and spirituality were major themes in New Cuban Art. Her early work, often consisting of separate, shaped canvases, suggested fragmentation of the female self and referenced
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that influenced and became part of Campos-Pons's art. The
African side of her family worked as slaves on sugar plantations and as domestic servants. The Chinese side of her family worked as indentured servants in sugar mills.
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self-portrait, whose natural hair holds a glowing orb connecting her to the burst of color and flowers, not only a physical connection with her femininity, but also a symbol of familial ties to her cultural heritage.
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Weinhuff, Christi. "Mama/Reciprocal Energy: Reciprocity as an Agent of Identity Formation in the Works of Maria Magdalena Campos-Pons." Vanderbilt Undergraduate Research Journal 8 (2012): 1-11. Print.
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Weinhuff, Christi. "Mama/Reciprocal Energy: Reciprocity as an Agent of Identity Formation in the Works of Maria Magdalena Campos-Pons."Vanderbilt Undergraduate Research Journal 8 (2012): 1-11. Print.
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Leonard created electroacoustic compositions for Campos-Pons' first film and videos, Rito de Iniciación (1988) and Baño Sagrado (1990) created as a result of a residency at
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Luis, William. "Art and diaspora: a conversation with Maria Magdalena Campos-Pons." Afro-Hispanic Review 30.2 (2011): 155+. Academic OneFile. Accessed October 25, 2015.
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1226:. Yale University Press in association with San Antonio Museum of Art; National Portrait Gallery, Smithsonian Institution; and El Museo del Barrio. p. 273.
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278:. She started exhibiting internationally in 1984. In the late 1980s, her art work gained "international recognition" with her abstract paintings dealing with
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possibilities." Campos-Pon is interested in showing "crosscultural" and "crossgenerational" themes dealing with race and gender as "expressed in symbols of
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2006: I Am Here, curated by Sergio Risaliti, Galleria Pack (now Galleria Giampaolo Abbondio), Milan, Italy (performance in collaboration with Neil Leonard)
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Campos-Pons has described much of her art education as very traditional, rooted in drawing and sculpture. She trained at the Escuela National de Arte in
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Cotter, Holland. "María Magdalena Campos-Pons and Neil Leonard."The New York Times. The New York Times, September 26, 2013. Accessed October 25, 2015.
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Cotter, Holland. "María Magdalena Campos-Pons and Neil Leonard."The New York Times. The New York Times, September 26, 2013. Accessed October 25, 2015.
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in 1988. While there, she created her first film that was scored by composer, saxophonist, Neil Leonard, whom she married in 1989. Before moving to
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Bell, Lynne. "History of People Who Were Not Heroes: A Conversation with Maria Magdalena Campos‐Pons." Third Text 12.43 (1998): 32-42. Print.
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1992: Como el Cuerpo de un Hombre es un Arbol … / … How the Body of a Person is a Tree …, Gallery La Centrale/Powerhouse, Montreal, Canada
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Escuela Nacional de Arte, Havana; Instituto Superior de Arte, Havana; post grad studies at Massachusetts College of Art and Design, Boston
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heritage. Her African ancestors, who were brought over by sugar plantation owners in the late 19th century, passed down traditions from
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Bell, Lynne. "History of People Who Were Not Heroes: A Conversation with Maria Magdalena Campos‐Pons." Third Text 12.43 (1998): 32-42.
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Gutierrez, Eddy. "The Importance of Women in Santeria", Santeria Church of the Orishas. June 27, 2012. Accessed October 25, 2015.
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Gutierrez, Eddy. "The Importance of Women in Santeria." Santeria Church of the Orishas. June 27, 2012. Accessed October 25, 2015.
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2004: Threads of Memory, Dak'Art, the Biennial of Contemporary African Art, 6th edition (in collaboration with Neil Leonard)
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2011–2012: Journeys & Mama/Reciprocal Energy, First Center for Visual Arts (performance with Neil Leonard), Nashville
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ancestry and Cuban heritage. She explores the rituals and symbols of Santería in some of her work from this time period.
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2018: Notes on Sugar: Works by María Magdalena Campos-Pons, Christian Green Gallery, The University of Texas at Austin
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1369:"Electronic Music in the Multimedia Works of Neil Leonard and Maria Magdalena Campos-Pons | www.ceiarteuntref.edu.ar"
1408:. Freiman, Lisa D., Enwezor, Okwui., Indianapolis Museum of Art., Bass Museum of Art. : Indianapolis Museum of Art.
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Fernández-Torres, Jorge (2013). "La Pervesión de lo Clásico: Anarquía de los Relatos." Maretti Editore. p. 220.
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Viegas-Zamora, Jose; Cristina Vives Gutierrez, Adolfo V. Nodal, Valia Garzon, and Dannys Montes de Oca (2001).
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1787:. Hammons, David, Campos-Pons, Maria Magdalena, Z, Pamela, Hassan, Salah M., Finley, Cheryl. Munich: Prestel.
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Bell, Lynne. "History of People Who Were Not Heroes: A Conversation with Maria Magdalena Campos‐Pons", pg. 33.
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224:, she distinctly felt that black Cubans were conspicuously missing from the art. She did not feel as though
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2003: Interiority or Hill Sided Moon, La Marrana, Montemarcello, Italy (in collaboration with Neil Leonard)
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that were reminiscent of her early work, and admittedly influenced by her Cuban professor Antonio Vidal.
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West-Durán, Alan. "What the Water Brings and Takes Away : The Work of Maria Magdalena Campos Pons."
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in Senegal; and the Guangzhou Triennial in China. Campos-Pons's work is in the collections of the
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2018: Like the lonely traveller: Video Works by María Magdalena Campos-Pons, Visual Arts Center,
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2303:"Here Are the 10 Female Artists Over 40 Who Have Won the $ 250,000 Anonymous Was a Woman Awards"
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2206:"Ritualizing Memories in the Art of Maria Magdalena Campos-Pons – Caribbean Cultural Institute"
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1988: Erotic Garden or Some Annotations on Hypocrisy/Jardin Erotico, Kennedy Building Gallery,
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Photography, installation, performance, painting, drawing, sculpture, audiovisual collaboration
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Berger, Sally. Maria Magdalena Campos-Pons: 1990-2001; in Salah Hassan and Olu Oguibe (eds.),
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504:"53+1=54+1+55. Letter of the Year" from 2013, by María Magdalena Campos-Pons and Neil Leonard.
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Their work is included in the collection of several public institutions globally, including:
529:"The One That Carried Fire", from 2011, by Maria Magdalena Campos-Pons (Studio International)
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2020: In The Garden, curated by Francesca Pasini, Galleria Giampaolo Abbondio, Milan, Italy.
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Her art has been shown in scores of solo and group exhibitions, including solo shows at the
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It may require cleanup to comply with Knowledge (XXG)'s content policies, particularly
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1990: A Woman at the Border/Una Mujer en la Frontera, Presentation Room JPL Building,
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2002: M.M. Campos-Pons, Galleria Pack (now Galleria Giampaolo Abbondio), Milan, Italy
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Yemoja: Gender, Sexuality, and Creativity in the Latina/o and Afro-Atlantic Diasporas
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2131:"María Magdalena Campos-Pons explores memory with a video installation at The Frist"
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Stavans, Ilan. "American America : María Magdalena Campos-Pons, Above All Things."
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California: J. Paul Getty Museum/New York: Brooklyn Museum; ISBN 978-1-60606-858-8.
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1995: Art Reach 95 Award, National Congress of Art & Design, Salt Lake City, UT
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2354:"Galerie Barbara Thumm \ María Magdalen Campos-Pons – The Rise of the Butterflies"
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unique sonic signatures that Campos-Pons wandered thought during the performance.
1989:"IDENTIFIED at the Smithsonian Institute [sic] National Portrait Gallery"
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Diaspora memory place : David Hammons, Maria Magdalena Campos-Pons, Pamela Z
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2017: Matanzas Sound Map, documenta 14, Athens (co-commnission with Neil Leonard)
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1985: Symposium of Scientific Studies, Research Award, Higher Institute of Art,
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1197:"Maria Magdalena Campos-Pons: Dreaming of an Island on Viet at Spelman College"
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1991: A Woman at the border/Una Mujer en la Frontera, SOHO 20 Gallery, New York
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Matanzas Sound Map from 2017, by María Magdalena Campos-Pons and Neil Leonard.
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1997: When I am not Here. Estoy Alla, The Caribbean Cultural Center, New York
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1992-1991: Foreign Visiting Artist Grant, Media Arts, Canada Council Painting
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1989: Isla/Island, Castillo de la Fuerza/Castle of Royal Force, Havana, Cuba
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After 1994, there was a shift in Campos-Pons's work, and it became somewhat
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2017: Bar Matanzas, documenta14, Kassel (co-commnission with Neil Leonard)
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2021: The Rise of the Butterflies, Galerie Barbara Thumm, Berlin, Germany
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at Tufts University. Since 2017, she has lived in Nashville, Tennessee.
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1998: M.M. Campos-Pons, Sustenance, Martha Schneider Gallery, Chicago
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2007: Maria Magdalena Campos-Pons: Everything Is Separated by Water,
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2019: Sea and Self, The Center for Women in the Arts and Humanities,
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1995: Bunting Fellowship, Radcliffe College at Harvard, Cambridge, MA
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Campos-Pons has received many awards and recognitions, including the
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María Magdalena Campos-Pons : everything is separated by water
1307:"Art and Diaspora: A Conversation with María Magdalena Campos-Pons"
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1996: M.M. Campos-Pons, New Work, Martha Schneider Gallery, Chicago
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town called La Vega in Cuba. Her paternal great-grandparents were
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Diaspora Memory Place: David Hammons, Maria Magdalena Campos-Pons
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1997: M.M. Campos-Pons, New Work, Ambrosino Gallery, Coral Gables
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or other configurations. These works are reminiscent of works by
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In the 1990s, she explored her family's ties to slavery and the
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Between 1986 and 1989 Campos-Pons was professor of Painting and
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between 1976 and 1979. From 1980 to 1989, she attended Havana's
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Authentic Ex-Centric: Conceptualism in Contemporary African Art
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Authentic Ex-Centric: Conceptualism in Contemporary African Art
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1993: Let me Tell You, INTAR, Latin American Gallery, New York
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1994: Recent Work, Miami Dade Community College Gallery, Miami
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2004: Something New, Something Old, Schneider Gallery, Chicago
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explores includes exile, immigration, memory and Cuba itself.
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The following are some examples of some of Campos Pons' art:
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When she was young, Campos relates that during a trip to the
1913:. Wendt, Selene., Stenersenmuseet. Oslo: DSV Network. 2007.
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1997: Abridor de Caminos, Martha Schneider Gallery, Chicago
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2009: The Jorge Hernandez Leadership in the Arts Award, MA
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Szymczyk, Adam (2017). "documenta 14: Daybook." Prestel.
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1991: Amuletos/Amulets, Burnaby Art Gallery, B.C., Canada
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Pons uses Santería as a theme in her art to identify her
977:(in Spanish). California International Arts Foundation.
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2004: Talking Pictures, Bernice Steinbaum Gallery, Miami
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of Radcliffe College, Harvard University, Cambridge, MA
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in 1991 to live with Leonard, she took a fellowship in
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1998: History of People... Part I, "A Town Portrait,"
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A major contributor to this article appears to have a
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1569:. The Hague: Prince Claus Fund Library. p. 122.
1457:"Campos-Pons's ambitious 'My Mother Told Me' wanders"
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1985: Acoplamientos/Coupling, Gallery L, Havana, Cuba
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2005: Back Yard, Dreams, Julie Saul Gallery, New York
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1993: Racially Inscribed Body, Akin Gallery, Boston
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1224:Retratos: 2,000 Years of Latin American Portraits
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1541:"Feminist Art Base: Maria Magdalena Campos Pons"
937:; San Francisco State University Gallery; 2005;
797:2005: New Work, Bernice Steinbaum Gallery, Miami
361:In the early 2000s, she returned to elements of
952:The Havana Guide: Modern Architecture 1925-1965
2475:Massachusetts College of Art and Design alumni
2047:"María Magdalena Campos-Pons and Neil Leonard"
835:2000: Nesting, Howard Yezerski Gallery, Boston
803:2004: Elevata, Howard Yezerski Gallery, Boston
1957:"WESTERN FRONT – María Magdalena Campos-Pons"
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877:1994: History of People Who Were Not Heroes,
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2379:"New Viewings \ María Magdalena Campos-Pons"
2020:"Maria Magdalena Campos-Pons + Neil Leonard"
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1404:Campos-Pons, Maria Magdalena, 1959- (2007).
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998:. California/International Arts Foundation.
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733:, Marquette University Milwaukee, Wisconsin
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647:2011: Hispanic Alianza Award Nashville TN
638:2018: $ 25,000 Anonymous Was a Woman Award
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2545:Naturalized citizens of the United States
1486:School of the Museum of Fine Arts, Boston
832:2001: Nesting, Schneider Gallery, Chicago
75:Learn how and when to remove this message
2154:"Press Release: Softly Spoken with Mama"
822:2002–2003: María Magdalena Campos-Pons,
815:2003: One Thousand Ways to Say Goodbye,
740:, Galerie Barbara Thumm, Berlin, Germany
2430:20th-century African-American academics
1651:"Replenishing • Pérez Art Museum Miami"
1166:"Maria Magdalena Campos-Pons on Artnet"
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911:Massachusetts College of Art and Design
389:; the Johannesburg Biennial; the First
302:Campos Pons work often revolves around
248:Massachusetts College of Art and Design
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1823:(Primera edición ed.). Valencia.
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1073:Thirteen Ways of Looking at Latino Art
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996:Memoria: Cuban Art of the 20th Century
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788:(in collaboration with Neil Leonard)
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658:The Louis Comfort Tiffany Foundation
452:was included in the 2022 exhibition
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2420:20th-century American women artists
935:AfroCuba: Works on Paper, 1968-2003
671:New England Foundation for the Arts
2530:National Art Schools (Cuba) alumni
2490:American people of Catalan descent
1685:. Tufts University. September 2013
1115:Snodgrass, Susan (November 2007).
768:2013: Water, WIZARD GALLERY, Milan
736:2020: New Viewings #25 Curated by
25:
2520:Instituto Superior de Arte alumni
2485:American people of Yoruba descent
956:. Princeton Architectural Press.
755:The University of Texas at Austin
260:School of the Museum of Fine Arts
222:National Cuban Museum of Fine Art
200:, Cuba, in 1959 and grew up in a
2440:21st-century Cuban women artists
2425:20th-century Cuban women artists
948:Rodriguez, Eduardo Luis (2000).
644:2011: Woman of Courage Boston MA
324:The Seven Powers Come by the Sea
258:. The artist also taught at the
55:. Please discuss further on the
34:
2495:21st-century American academics
2455:Cuban people of Catalan descent
2450:Cuban people of Chinese descent
2435:20th-century American academics
845:1998: Spoken Softly with Mama,
623:Mary Ingraham Bunting Institute
466:Collaboration with Neil Leonard
2445:Cuban people of Yoruba descent
2024:artistsincontextprospectus.org
1819:Santana, Andrés Isaac (2016).
1075:, Duke University Press, 2014.
578:Whitney Museum of American Art
568:Museum of Modern Art, New York
559:Tufts University Art Galleries
546:Public Collections (selection)
313:tradition carried over by her
1:
2515:Vanderbilt University faculty
2227:"Maria Magdalena Campos-Pons"
1705:"María Magdalena Campos-Pons"
1629:"María Magdalena Campos Pons"
1592:"Maria Magdalena Campos-Pons"
1482:"Maria Magdalena Campos-Pons"
673:, Regional Fellowship, MA US
615:The Banff Centre for the Arts
445:significant social unrest."
2465:Cuban expatriates in Canada
2180:"Making Matanzas Sound Map"
1590:Ladd, Florence (May 2006).
1305:Luis, William (Fall 2011).
1278:Smith College Museum of Art
776:Smith College Museum of Art
686:1990: Painting Fellowship,
563:Museum of Fine Arts, Boston
208:. She also has Chinese and
162:María Magdalena Campos-Pons
91:María Magdalena Campos-Pons
18:María Magdalena Campos-Pons
2561:
2460:Cuban contemporary artists
847:National Gallery of Canada
824:North Dakota Museum of Art
786:Indianapolis Museum of Art
635:2021: $ 50,000 Pérez Prize
593:Victoria and Albert Museum
588:National Gallery of Canada
411:Victoria and Albert Museum
407:National Gallery of Canada
276:Instituto Superior de Arte
237:Instituto Superior de Arte
228:were equally represented.
164:(born July 22, 1959) is a
27:Cuban-born American artist
1756:"Afro-Atlantic Histories"
1512:Cuban Art Knowledge (XXG)
901:Banff Centre for the Arts
838:1998: Unfolding Desires,
291:myths. She also explored
2510:American women academics
2096:The Museum of Modern Art
1543:. Brooklyn Museum of Art
817:Henie Onstad Kunstsenter
653:2007: Rappaport Prize MA
583:Art Institute of Chicago
448:Her diptych photograph,
403:Art Institute of Chicago
337:." This work is largely
196:Campos-Pons was born in
192:Early life and education
1783:Hammons, David (2008).
1763:National Gallery of Art
1729:Owens, Ann Marie Deer.
1596:Women's Review of Books
1272:Muehlig, Linda (2010).
679:1992-1991: Fellowship,
600:, at Harvard University
573:Smithsonian Institution
460:National Gallery of Art
455:Afro-Atlantic Histories
432:Campos-Pons teaches at
399:Smithsonian Institution
2505:American art educators
2160:. Museum of Modern Art
1941:: CS1 maint: others (
1655:Pérez Art Museum Miami
1565:Berger, Sally (2001).
926:Hermo, Carmen (2023).
731:Haggerty Museum of Art
693:1989: Medal of Honor,
555:Pérez Art Museum Miami
423:Pérez Art Museum Miami
385:in New York City; the
168:-born artist based in
2358:Galerie Barbara Thumm
2231:Vanderbilt University
1735:Vanderbilt University
973:Viegas, Jose (2004).
434:Vanderbilt University
53:neutral point of view
2026:. Artists in Context
1373:ceiarteuntref.edu.ar
1311:Afro-Hispanic Review
1203:. September 10, 2008
1117:"Vestiges of Memory"
729:2021: Sea and Self,
722:J. Paul Getty Museum
480:55th Venice Biennale
442:Cornelius Vanderbilt
438:Nashville, Tennessee
415:Museum of Modern Art
383:Museum of Modern Art
2309:. December 11, 2018
2281:theartnewspaper.com
1821:Práctica del exceso
1222:Dowdy, Dru (2004).
933:Judith Bettelheim;
440:, where she is the
419:Museum of Fine Arts
304:feminist ideologies
293:reproductive rights
2333:brooklynmuseum.org
2133:. October 20, 2011
2045:Szewczyk, Monika.
1911:Equatorial rhythms
748:Rutgers University
695:City of Guanabacoa
611:"Mention of Honor"
391:Liverpool Biennial
299:through her art.
2535:MacArthur Fellows
1899:978-3-7913-5655-6
1005:978-0-917571-11-4
984:978-0-917571-12-1
963:978-1-56898-210-6
943:978-0-295-98476-6
879:Bunting Institute
690:, Alberta, Canada
683:, Alberta, Canada
182:Roman Catholicism
159:
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48:with its subject.
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708:Solo exhibitions
688:The Banff Centre
681:The Banff Centre
631:MacArthur Fellow
356:Carrie Mae Weems
339:autobiographical
328:The Seven Powers
280:female sexuality
202:sugar plantation
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921:Further reading
750:, New Brunswick
718:Brooklyn Museum
710:
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598:Fogg Art Museum
548:
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427:Fogg Art Museum
387:Venice Biennale
268:
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2018:Cieri, Marie.
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