LOT 6
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María Magdalena Campos-Pons Thinking of Frida
作品估价：USD 12,000 - 18,000
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成交状态：未知
买家佣金拍卖企业在落槌价的基础上收取买家佣金
26%
图录号：
6
拍品名称：
María Magdalena Campos-Pons Thinking of Frida
拍品描述：
María Magdalena Campos-Pons
b. 1959
Thinking of Frida
Executed in 2025.
Watercolor and ink on archival paper
30 x 20 in. (76.2 x 50.8 cm)
Please note that while this auction is hosted on Sothebys.com, it is being administered by El Museo de Barrio Museum, and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by El Museo. As such, Sotheby’s will share the contact details for the winning bidders with El Museo so that they may be in touch directly post-sale.
This online benefit auction has a 10% buyer’s premium, which will be added to the final hammer price of each sold work. The premium allows El Museo to retain more of the proceeds of the sale and offset administrative costs.
María Magdalena Campos-Pons
b. 1959
Thinking of Frida
Executed in 2025.
Watercolor and ink on archival paper
30 x 20 in. (76.2 x 50.8 cm)
Please note that while this auction is hosted on Sothebys.com, it is being administered by El Museo de Barrio Museum, and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by El Museo. As such, Sotheby’s will share the contact details for the winning bidders with El Museo so that they may be in touch directly post-sale.
This online benefit auction has a 10% buyer’s premium, which will be added to the final hammer price of each sold work. The premium allows El Museo to retain more of the proceeds of the sale and offset administrative costs.
Courtesy of the artist and Gallery Wendi Norris, San Francisco, CA
María Magdalena Campos-Pons's practice addresses history, memory, gender, and religion, investigating the role of each in identity formation. Her practice intermixes photography, painting, sculpture, film, video, and performance.
Campos-Pons is a descendant of Hispanic and Chinese immigrants to Cuba and of Nigerians brought to the island and enslaved in the 19th century. She grew up with the legacy of slavery. As a child, Campos-Pons learned about Santería, a religious tradition that originated in the Yoruban nations of West Africa. Informed by the traditions, rituals, and practices of her ancestors, her work is deeply autobiographical. Using herself and her Afro-Cuban relatives as subjects, Campos-Pons creates historical narratives that illuminate the spirits of people and places, present and past. She makes personal history universally relevant. Invoking narratives of the transatlantic slave trade, her images and performances honor Black laborers on indigo and sugar plantations, renew Catholic and Santería practices, and celebrate revolutionary uprisings in the Americas. The sea as a repository of memory and site of identity formation is a frequent theme, allowing her to explore topics ranging from the Middle Passage to the contemporary migrant crisis. Campos-Pons writes that she collects and tells “stories of forgotten people in order to foster a dialogue to better understand and propose a poetic, compassionate reading of our time.”
María Magdalena Campos-Pons
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The art of María Magdalena Campos-Pons (b. 1959, Matanzas) addresses history, memory, gender, and religion, investigating the role of each in identity formation. Her practice intermixes photography, painting, sculpture, film, video, and performance.
Campos-Pons is a descendant of Hispanic and Chinese immigrants to Cuba and of Nigerians brought to the island and enslaved in the 19th century. She grew up with the legacy of slavery. As a child, Campos-Pons learned about Santería, a religious tradition that originated in the Yoruban nations of West Africa. Informed by the traditions, rituals, and practices of her ancestors, her work is deeply autobiographical. Using herself and her Afro-Cuban relatives as subjects, Campos-Pons creates historical narratives that illuminate the spirits of people and places, present and past. She makes personal history universally relevant. Invoking narratives of the transatlantic slave trade, her images and performances honor Black laborers on indigo and sugar plantations, renew Catholic and Santería practices, and celebrate revolutionary uprisings in the Americas. The sea as a repository of memory and site of identity formation is a frequent theme, allowing her to explore topics ranging from the Middle Passage to the contemporary migrant crisis. Campos-Pons writes that she collects and tells “stories of forgotten people in order to foster a dialogue to better understand and propose a poetic, compassionate reading of our time.”
From the beginning, Campos-Pons has combined traditional artmaking mediums with installation and time-based mediums including video, film, and performance. In the 1990s, she began making large-format Polaroid photographs that elaborate the complexities of the themes she addresses. Campos-Pons’s performances often unfold as ritualistic processionals that physically and spiritually fill the spaces in which they take place while asserting their relevance beyond the boundaries of those spaces.
Since 2020, Campos-Pons has witnessed a surge of excitement as demonstrated by recent acquisitions of her art by the Museum of Modern Art (New York); Princeton University Art Museum; Smithsonian American Art Museum (Washington, DC); Speed Art Museum (Louisville); Nasher Museum of Art at Duke University; J. Paul Getty Museum (Los Angeles); Museum of Fine Arts (Boston); Institute of Contemporary Art (Boston); Museum of Fine Arts (Houston); Tate Modern (London); and other public and private collections. In addition, her work has appeared in After Rain at the Diriyah Contemporary Art Biennale (Saudi Arabia); Thinking Historically in the Present at the Sharjah Biennial 15 (United Arab Emirates); and soft and weak like water at the 14th Gwangju Biennale. In 2023 Campos-Pons was awarded the MacArthur Fellowship, also known as the MacArthur "genius" grant.
b. 1959
Thinking of Frida
Executed in 2025.
Watercolor and ink on archival paper
30 x 20 in. (76.2 x 50.8 cm)
Please note that while this auction is hosted on Sothebys.com, it is being administered by El Museo de Barrio Museum, and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by El Museo. As such, Sotheby’s will share the contact details for the winning bidders with El Museo so that they may be in touch directly post-sale.
This online benefit auction has a 10% buyer’s premium, which will be added to the final hammer price of each sold work. The premium allows El Museo to retain more of the proceeds of the sale and offset administrative costs.
María Magdalena Campos-Pons
b. 1959
Thinking of Frida
Executed in 2025.
Watercolor and ink on archival paper
30 x 20 in. (76.2 x 50.8 cm)
Please note that while this auction is hosted on Sothebys.com, it is being administered by El Museo de Barrio Museum, and all post-sale matters (inclusive of invoicing and property pickup/shipment) will be handled by El Museo. As such, Sotheby’s will share the contact details for the winning bidders with El Museo so that they may be in touch directly post-sale.
This online benefit auction has a 10% buyer’s premium, which will be added to the final hammer price of each sold work. The premium allows El Museo to retain more of the proceeds of the sale and offset administrative costs.
Courtesy of the artist and Gallery Wendi Norris, San Francisco, CA
María Magdalena Campos-Pons's practice addresses history, memory, gender, and religion, investigating the role of each in identity formation. Her practice intermixes photography, painting, sculpture, film, video, and performance.
Campos-Pons is a descendant of Hispanic and Chinese immigrants to Cuba and of Nigerians brought to the island and enslaved in the 19th century. She grew up with the legacy of slavery. As a child, Campos-Pons learned about Santería, a religious tradition that originated in the Yoruban nations of West Africa. Informed by the traditions, rituals, and practices of her ancestors, her work is deeply autobiographical. Using herself and her Afro-Cuban relatives as subjects, Campos-Pons creates historical narratives that illuminate the spirits of people and places, present and past. She makes personal history universally relevant. Invoking narratives of the transatlantic slave trade, her images and performances honor Black laborers on indigo and sugar plantations, renew Catholic and Santería practices, and celebrate revolutionary uprisings in the Americas. The sea as a repository of memory and site of identity formation is a frequent theme, allowing her to explore topics ranging from the Middle Passage to the contemporary migrant crisis. Campos-Pons writes that she collects and tells “stories of forgotten people in order to foster a dialogue to better understand and propose a poetic, compassionate reading of our time.”
María Magdalena Campos-Pons
SHARE
The art of María Magdalena Campos-Pons (b. 1959, Matanzas) addresses history, memory, gender, and religion, investigating the role of each in identity formation. Her practice intermixes photography, painting, sculpture, film, video, and performance.
Campos-Pons is a descendant of Hispanic and Chinese immigrants to Cuba and of Nigerians brought to the island and enslaved in the 19th century. She grew up with the legacy of slavery. As a child, Campos-Pons learned about Santería, a religious tradition that originated in the Yoruban nations of West Africa. Informed by the traditions, rituals, and practices of her ancestors, her work is deeply autobiographical. Using herself and her Afro-Cuban relatives as subjects, Campos-Pons creates historical narratives that illuminate the spirits of people and places, present and past. She makes personal history universally relevant. Invoking narratives of the transatlantic slave trade, her images and performances honor Black laborers on indigo and sugar plantations, renew Catholic and Santería practices, and celebrate revolutionary uprisings in the Americas. The sea as a repository of memory and site of identity formation is a frequent theme, allowing her to explore topics ranging from the Middle Passage to the contemporary migrant crisis. Campos-Pons writes that she collects and tells “stories of forgotten people in order to foster a dialogue to better understand and propose a poetic, compassionate reading of our time.”
From the beginning, Campos-Pons has combined traditional artmaking mediums with installation and time-based mediums including video, film, and performance. In the 1990s, she began making large-format Polaroid photographs that elaborate the complexities of the themes she addresses. Campos-Pons’s performances often unfold as ritualistic processionals that physically and spiritually fill the spaces in which they take place while asserting their relevance beyond the boundaries of those spaces.
Since 2020, Campos-Pons has witnessed a surge of excitement as demonstrated by recent acquisitions of her art by the Museum of Modern Art (New York); Princeton University Art Museum; Smithsonian American Art Museum (Washington, DC); Speed Art Museum (Louisville); Nasher Museum of Art at Duke University; J. Paul Getty Museum (Los Angeles); Museum of Fine Arts (Boston); Institute of Contemporary Art (Boston); Museum of Fine Arts (Houston); Tate Modern (London); and other public and private collections. In addition, her work has appeared in After Rain at the Diriyah Contemporary Art Biennale (Saudi Arabia); Thinking Historically in the Present at the Sharjah Biennial 15 (United Arab Emirates); and soft and weak like water at the 14th Gwangju Biennale. In 2023 Campos-Pons was awarded the MacArthur Fellowship, also known as the MacArthur "genius" grant.