No. 656: María Magdalena Campos-Pons, early Southern quilts

Episode No. 656 of The Modern Art Notes Podcast features artist María Magdalena Campos-Pons and curator Lauren Applebaum.

“María Magdalena Campos-Pons: Behold”, now at the Nasher Museum of Art at Duke University, is the first multimedia survey of Campos-Pons’ work in 17 years. The exhibition spotlights Campos-Pons’ photography, installation, and performance-based practices, which typically address global histories of enslavement, indentured labor, motherhood, and migration — how their impacts continue into the present. The exhibition is on view at Duke through June 9. It was curated by Carmen earmo Hermo and Mazie Harris with Jenée-Daria Strand. The exhibition is accompanied by a catalogue published by the Getty and the Brooklyn Museum. Amazon and Bookshop offer it for $33-42.

On the program host Tyler Green mentions this excellent website published by the Peabody Essex Museum, Salem, Mass. on the occasion of its 2016 Campos-Pons exhibition. Campos-Pons mentioned Chinua Achebe’s Things Fall Apart.

With Daniel Ackermann, Lea Lane, and Jenny Garwood, Applebaum is a co-curator of “Layered Legacies: Quilts from the Museum of Early Southern Decorative Arts at Old Salem” at the North Carolina Museum of Art, Raleigh. The exhibition includes more than 30 quilts and related objects from the MESDA collection (as well as some from private collections) and presents new, revised investigations into their making. It is on view through July 21. NCMA published a catalogue to accompany the exhibition; it is only available at the museum.

Air date: May 30, 2024.

María Magdalena Campos-Pons, Freedom Trap, 2013.

María Magdalena Campos-Pons, Soy Una Fuente (I Am a Fountain), 1990.

María Magdalena Campos-Pons, The One That Carried the Fire, 2011.

Installation view of quilt by Household of Martha (Long) King), ca. 1820-1840.

Installation view of quilt by Household of Hercilla Ann Achsah Meadors, ca. 1840-50.

Installation view of quilt by Household of Eleanor McCauley Atwater, ca. 1870.

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