Maria Magdalena Campos-Pons, ‘Unspeakable Sorrow (Image 1 of 3)’, 532 Gallery Thomas Jaeckel

Edition 3 of 5

Series: Unspeakable Sorrow

Signature: signed at bottom (front)

Image rights: Maria Magdalena Campos-Pons

2011–2012: Journeys & Mama/ Reciprocal Energy, First Center for Visual Arts - Nashville TN, USA
2007: Maria Magdalena Campos-Pons: Everything Is Separated by Water, Bass Museum of Art, Miami Beach (solo)
2007: Maria Magdalena Campos-Pons: Everything Is Separated by Water, Indianapolis Museum of Art, IN (solo)
2006: New Work, Gallery Pack, Milan, Italy (solo)
2006: Dipersed, MoAD SanFrancisco
2006: Retratos: 2,000 Years of Latin American Portraits, Smithsonian Museum, Washington DC
2005: Getting Emotional, The Institute of Contemporary Art, Boston
2005: Pan African Exhibition of Contemporary Art, Museum of Modern Art, Salvador Bahia Brazil
2005: RAMPA - Signaling New Latin American Art Initiatives, Arizona State University Art Museum, Tempe
2005: Some Color: A Color Photography Exhibition, Howard Yezerski Gallery, Boston
2005: Back Yard, Dreams, Julie Saul Gallery New York, NY (solo)
2005: New Work, Bernice Steinbaum Gallery, Miami, FL (solo)
2005: Dispersed, Museum of the African Diaspora, San Francisco, CA
2005: ARCO ’05, Gallery Pack, Milan, Italy
2005: Retratos: 2,000 Years of Latin American Portraits, El Museo del Barrio, NY
2005: Dreaming Now, The Rose Art Museum of Brandeis University, MA
2004: Visualizing Diaspora/Constructing Self, GASP, Brookline, MA
2004: 3 x 3: THREE ARTISTS/THREE PROJECTS, Dak’Art 2004, Biennale of Contemporary African Art, Dakar Senegal
2004: De lo que soy/Of what I am, Lehman College Art Gallery, Bronx, NY
2004: Remberance Fields, Echigo-Tsumari Art Triennial, Japan
2004: Howard Yezerski Gallery, Boston MA
2004: Inside/Outside, Charlotte and Philip Hanes Art Gallery, Wake Forest University
2004: Threads of Memory, Dak’Art, the Biennial of Contemporary African Art, 6th edition (solo)
2004: Elevata, Howard Yezerski Gallery, Boston, MA (solo)
2004: Dak’Art, the Biennial of Contemporary African Art, 6th edition, Dakar, Senegal
2004: Talking Pictures, Bernice Steinbaum Gallery, Miami, FL (solo)
2004: Something New, Something Old, Schneider Gallery Chicago Ill (solo)
2003: De lo que soy/Of what Iam, Lehman College Art Gallery, Bronx, New York
2003: Remberence Fields, Echigo-Tsumari Art Triennial, Japan
2003: Howard Yezerski Gallery, Boston
2003: Only Skin Deep, ICP, New York
2003: Interiority or Hill Sided Moon, La Marrana, Montemarcello, Italy (solo)
2003: One Thousand Ways to Say Goodbye, Henie Onstad, Kunstsenter, Oslo, Norway (solo)
2002–2003: María Magdalena Campos-Pons, North Dakota Museum of Art, Grand Forks, North Dakota (solo)
2002: M.M. Campos-Pons, Gallery Pack, Milan, Italy (solo)
2002: Art Through the Eye of the Needle, Henie Onstad Kunstsenter, Oslo, Norway
2001: Authentic/Ex-centric: Africa in and Out Africa, 49th Venice Biennale, Venice, Italy
2001: Unpacking Europe, Museum Boijmans Van Beuningen, Rotterdam, Netherlands
2001: Museum Eki, Kyoto; Tkamatsu City Museum of Art Japan
2001: Museum of Contemporary Art, Sapporo, Japan
2001: Nesting, Schneider Gallery, Chicago, IL (solo)
2000: Nesting, Howard Yezerski Gallery, Boston, MA (solo)
2000: The Likeness of Being, Contemporary Self Portraiture by 60 Women Artists, DC Moore Gallery, New York
2000: Religion, Contemporary Interpretations by Women, The Art Gallery University of New Hampshire
2000: Tokyo Metropolitan Museum of Photography, Tokyo, Japan
2000: Visibility, Museum of Contemporary Art, Baltimore
1999–2000: Meanwhile, the Girls Were Playing, MIT List Visual Arts Center Cambridge, MA (solo)
1999: Liverpool Biennial of Contemporary Art, Liverpool, UK
1999: Uncommon Perspectives, South Shore Art Center, Cohasset, MA
1999: Croosing/Traversee, National Gallery of Canada, Ottowa, Canada
1999: Ritual Acts: Videos by Women, Decordova Museum, MA
1998: Unfolding Desires, Hallwalls, Buffalo, NY (solo)
1998: Spoken Softly with Mama, National Gallery of Canada, Ottowa, Canada (solo)
1998: History of People. . . Part I, "A Tonw Portrait," Lehman College, NJ (solo)
1998: M.M. Campos-Pons, Sustenance, Martha Schneider Gallery, Chicago, IL (solo)
1997: Abridor de Caminos, Martha Schneider Gallery, Chicago, IL (solo)
1997: M.M. Campos-Pons, New Work, Ambrosino Gallery, Coral Gables, FL (solo)
1997: When I am not Here. Estoy Alla, The Caribbean Cultural Center, New York, NY (solo)
1997: Trade Routes, Johannesburg Biennale, Johannesburg, South Africa
1997: Caribbean Vision: Contemporary Painting & Sculpture, Smithsonian, Washington DC
1996: Skin, M.M. Campos-Pons & Sandy Slone, Crieger/Dane Gallery, Boston, MA
1996: Grifu, Campos-Pons, Carlos Cardenas, Tomas Esson, C.M.A.C., Cambridge, MA
1996: M.M. Campos-Pons, New Work, Martha Schneider Gallery, Chicago, IL (solo)
1995: Latin American Women Artists, 1915 - 1995, Milwaukee Art Museum, Phoenix Art Museum, NM
1995: Cuba, La Isla Possible, Centre de Cultura Contemporania, Barcelona, Spain
1994: Rejoining the Spiritual: The Land in Latin American Art, The Maryland Institute College of Art, Baltimore, MD
1994: Transcending the Borders of Memory, Norton Gallery & School of Art, FL
1994: Recent Work, Miami Dade Community College Gallery, Miami, FL (solo)
1994: History of People Who Were Not Heroes, Bunting Institute of Radcliffe College, Harvard University, Cambridge, MA (solo)
1993: Let me Tell You, INTAR, Latin American Gallery, New York, NY (solo)
1993: Racially Inscribed Body, Akin Gallery, Boston, MA (solo)
1993: Trade Routes, The New Museum of Contemporary Art, NY
1993: Witness, Presentation House Gallery, North Vancouver, Canada
1992: Ways to See: New Art From Massachusetts, Institute of Contemporary Art, Boston, MA
1992: The Year of the White Bear, The Walker Center for the Arts, Minneapolis, MN
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 (solo)
1991: A Woman at the border/Una Mujer en la Frontera, SOHO 20 Gallery, New York, NY (solo)
1991: Amuletos/Amulets, Burnaby Art Gallery, B.C., Canada (solo)
1991: Africa in America, Traveling Show from 4th Biennial of Havana, Spain IV Biennial de La Havana, National Museum of Fine Arts, Havana
1991: El Corazon Sangante/The Bleeding Heart, Institute of Contemporary Art, Boston, MA
1990: Cuba OK, Stadische Kunsthalle, Düsseldorf, Germany
1990: No Man is an Island: Young Cuban Art, Porin Taidesmuseo, Finland, Flaffy Palace, Vienna, Austria
1990: A Woman at the Border/Una Mujer en la Frontera, Presentation Room JPL Building, Banff Centre for the Arts, Canada (solo)
1989: Isla/Island, Castillo de la Fuerza/Castle of Royal Force, Havana, Cuba (solo)
1989: Contemporary Art from Havana, Riverside Studios, London, UK, Aberstwyth Arts Centre, Dyfed, Wales
1989: Made in Havana, Museum of Contemporary Art, Brisborne, Australia
1988: Made in Havana, Art Gallery of New South Wales, Sidney, Australian Center for Contemporary Art, Melbourne, Australia
1988: Raices en Accion Nuevos Artistas Cubanos/Roots in Action, New Cuban Artists, Museum of Art Carrillo Gil, Mexico
1988: Erotic Garden or Some Annotations on Hypocrisy/Jardin Erotico, Kennedy Building Gallery, Massachusetts College of Art, Boston, MA (solo)
1987: The Love, National Museum of Fine Arts, Havana, Cuba
1987: Veintitantos Abriles, Havana Gallery, Havana, Cuba
1986: Africa Inside Cuba 6 Fine Artists, (Bedia, Lam, Mendive, Olazabal) Wifredo Lam Center, Havana, Cuba, National Museum of Anthropology, Luanda, Angola 18th International Painting Competition, Cagnes Sur Mer, France 10 Años del ISA, National Museum of Fine Arts, Havana, Cuba ARA OKO, Museum of Guanabacoa, 2nd Havana Biennial, Cuba
1985: Acoplamientos/Coupling, Gallery L, Havana, Cuba (solo)
1984: 13 of March Exhibition, University of Havana, Cuba
1981: Four Young Creators, (Marta M., Perez B. Regina F., Eidania Perez, M. M. Campos-Pons), Museum of Fine Arts, Havana, Cuba

Judith Bettelheim; AfroCuba: Works on Paper, 1968-2003; San Francisco State University Gallery; 2005; ISBN 978-0-295-98476-6
Rodriguez, Eduardo Luis (2000). The Havana Guide: Modern Architecture 1925-1965. Princeton Architectural Press. ISBN 978-1-56898-210-6.
Viegas, Jose (2004). Memoria: Artes Visuales Cubanas Del Siglo Xx (in Spanish). California International Arts Foundation. ISBN 978-0-917571-12-1.
Viegas-Zamora, Jose; Cristina Vives Gutierrez, Adolfo V. Nodal, Valia Garzon, and Dannys Montes de Oca (2001). Memoria: Cuban Art of the 20th Century. California/International Arts Foundation. ISBN 978-0-917571-11-4.
Luis, William. "Art and diaspora: a conversation with Maria Magdalena Campos-Pons." Afro-Hispanic Review 30.2 (2011): 155+. Academic OneFile. Web. 25 Oct. 2015.
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.
Bell, Lynne. "History of People Who Were Not Heroes: A Conversation with Maria Magdalena Campos‐Pons." Third Text 12.43 (1998): 32-42. Print.
Cotter, Holland. "María Magdalena Campos-Pons and Neil Leonard."The New York Times. The New York Times, 26 Sept. 2013. Web. 25 Oct. 2015.
Gutierrez, Eddy. "The Importance of Women in Santeria." Santeria Church of the Orishas. 27 June 2012. Web. 25 Oct. 2015.

About Maria Magdalena Campos-Pons

Sculptor, installation artist, videographer, and photographer Maria Magdalena Campos-Pons says that she aims to forge “historical narratives that illuminate the spirit of people and places, past and present” through her artwork. She is best known for her large-format Polaroids, such as Constellation (2004), a grid of photographs in which the artist’s body is symbolized by abstract, painterly compositions of dreadlocks, which reference her African roots. Campos-Pons’ Sugar / Bittersweet (2010) installation fashions a microcosmic sugar trade in which columns of raw sugar stand in for sugar cane fields, cast glass forms pierced by African spears reference slaves, and roped Chinese weights allude to post-harvest weighing and Chinese indentured laborers in Cuba. Sugar / Bittersweet, while addressing Cuba’s national history, cultural resilience, and cross-cultural identity, parallels Campos-Pons’ personal story, exiled identity living in Boston, and the Afro-Cuban diaspora.

Cuban, b. 1959, Matanzas, Cuba, based in Nashville, TN, USA

Solo Shows

Athens, Central Athens, Greece,
Matanzas Sound Map
Galleria PACK, 
Milan, Italy,
Sono qui

Group Shows

Palazzo Collicola Arti Visive, 
Spoleto, Province of Perugia, Italy,
Cortesie per gli ospiti
Galleria PACK,