Testigo

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Artist María Magdalena Campos-Pons(Cuban, born 1959)Cuban, born 1959

CultureCuban

Titles

Testigo

Date2023

MediumWatercolor on paper

DimensionsSheet: 35 × 29 3/4 in. (88.9 × 75.6 cm)
Frame: 39 × 34 × 1 3/4 in. (99.1 × 86.4 × 4.4 cm)

Credit LineMuseum purchase funded by the Latino Art Fund

Object number2023.494

Not on view

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Department

Latin American Art

Object Type

DRAWINGS, PASTELS & WATERCOLORS

ProvenanceThe artist; [Wendy Norris Gallery, San Francisco]; purchased by MFAH, 2023.

Exhibition HistoryNone.
Published References Numerous articles and books have been published on Campos-Pons’ practice. The following is a selection of these publications: Hermo, Carmen. María Magdalena Campos-Pons: Behold. Los Angeles: J. Paul Getty Museum, 2023. Jackson, Sharna and Whitley Zoé. Black Artists Shaping the World. New York: Thames & Hudson Ltd, 2021. Basseches, Joshua P. et al. Alchemy of the Soul: María Magdalena Campos-Pons. Salem, Massachusetts: Peabody Essex Museum, 2016. Beckenstein, Joyce. “Zilia Sánchez, María Magdalena Campos-Pons, and Glenda León: Three Cuban Artists, Three Generations, Three Perspectives.” Woman’s Art Journal, vol. 37, no. 2, 2016, pp. 20–28. Campos-Pons, María Magdalena, and William Luis. “Art and Diaspora: A Conversation with María Magdalena Campos-Pons.” Afro-Hispanic Review, vol. 30, no. 2, 2011, pp. 155–166. Campos-Pons, María Magdalena. “The Artist’s Artist: Cullen Washington in Conversation with Maria Magdalena Campos-Pons.” Nka Journal of Contemporary African Art, vol. 2010, no. 27, 2010, pp. 62–69. Hammons, David et al. Diaspora Memory Place: David Hammons María Magdalena Campos-Pons Pamela Z. Prestel. Munich: Prince Claus Fund Library, 2008. Campos-Pons, María Magdalena, et al. María Magdalena Campos-Pons: Everything Is Separated by Water. Indianapolis: Indianapolis Museum of Art, 2007. González, Flora M. “Possession and Altar Making: Reconstruction of Memory as Artistic Performance in the Multimedia Installations of María Magdalena Campos-Pons.” Cuban Studies, vol. 31, 2000, pp. 102–117. Inscriptions, Signatures and Marks

Recto: Inscribed in watercolor, bottom left corner: "nashville"
Recto: Dated in watercolor, bottom right corner: "3-27-2023"
Verso: Inscribed in ink, center bottom and right bottom edge: "For Brooklyn Cut for Change" / "Testigo" / March 28 / 2023 / Nashville TN / Maria M Campos-Pons [cursive]

Catalogue raisonnéNA

Cataloguing data may change with further research.

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