ETIQUETTE KIT Anna Campbell
BOSI Contemporary, New York January 14 - February 14, 2015
Writing by: Front Cover: Design:
Erica Rand Anna Campbell, Semiotics, Softie, 2014 (Detail) BOSI Contemporary
ISBN:
978-1-312-84093-5
Contents 7
LINGERING WITH INTENT
13
INSTALLATION SHOTS
Erica Rand
21 EXHIBITED WORKS 53
ARTIST BIOGRAPHY
61
CONTRIBUTORS
Erica Rand
LINGERING WITH INTENT
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I linger by the ice after my figure skating practice whenever I can catch what is officially called “women’s hockey.” Ice rinks are great places to spectate gender and I love watching skaters who have mastered that butchly suave version of hockey’s skate-to-skate weight shift, whether they’re getting the feel of the ice before the game or “stick handling” in the thick of it. If you ask me what makes for butchly suave skating, I can talk about gendered conventions in hockey, point out ordinary lumbering in contrast, or gesture to similar scenes of masculinity refigured—certain ways of standing or moving, of handling a camera, a dipstick, a dance floor, or a tie. Still, part of the thrill will evade description.
1. Page 37. 2. Page 39.
Anna Campbell’s show Etiquette Kit works to invoke, even generate, such ineffables, using materials and historical referents that work also to pin down the specificities that occasion them. Sometimes these specificities involve systems of meaning generated in the gendering of sport that I referenced above. Ode to a Gym Teacher1 is named after a Meg Christian classic of 1970s “women’s (or womyn’s) music” about a girl with a crush on her gym teacher: “a big tough woman, the first to come along/That showed me being female meant you still could be strong.” The song calls up desires once generated among greater scarcity of models, desires that Campbell renders tangible here through the use of six leather goalie pads, equipment long ago supplanted by synthetics. The worn and cracked leather, like many of Campbell’s materials, looks enticing to touch, while the visual details and placement, arranged subtly to suggest intertwined legs, compel loving attention. In Passing2, a wooden bat leans up against a vertical 2 by 4, each ringed with one lacy blue garter. Objects pulled from masculinecoded athletic publics and feminine-coded domestic realms look differently gendered together. Leaning against its straight-edged partner, the bat looks particularly curvy and lithe, on the order of Donatello’s statue of David, notorious for the hero’s boyish charm and the feather from Goliath’s helmet running up his thigh. The bat is made even more deliciously effeminate with the same garter that the 2 by 4 wears like a coach pressured to ward off the gender-stereotyping dyke-haters through ill-suiting tokens of femininity.
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Campbell’s artwork reflects her engagement with diverse contemporary influences, including the reworked industrial forms of Robert Gober, especially his sinks. To make A Pocket, a Cue, a Shot3, for instance, Campbell built a pool table using techniques of domestic architecture, placing a worn flowered mattress where the felt should be with stockings dangling below the pockets as if to catch the balls that would surely break them. Erotic furnishings mix up public and private enticements to refuse some sanitizing containments, such as a narrative moving from flirting at the gay bar to sex at home. Where precisely will you bend over that mattress/table or rip those stockings? In Nature4 a mirror ball sits on the seat of an antique highchair perfectly sized for it. Made for a doll but at standard height for a human, thus furthering the link of ball to baby, the chair looks as precarious as protective and the mirrors reflect the ball’s perch to amplify suggestions of queer progeny destined by nature (or nurture) for the disco floor.
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Campbell also connects her work to artists like Allyson Mitchell and Ulrike Müller who engage, respectively, the aesthetic and archival practices of lesbian feminists, often stigmatized and oversimplified as purveyors of horrific essentialism and pruny sexual rule-making. The title of Campbell’s Grid for a Central Core Dickie5 references the vulva-like, “central core” imagery integral to this reputation. The latex of the dickey form confers a nice counter-tedious perversity. At the same time, however, its stiff ruffles, which seem as rigid as the concrete grid it overlays, and its coloring, which looks suspiciously parodic of menstrual-blood red and white-flesh pink (more tokens of essentializing), suggest that an ambivalence about embracing these forebears colors the artist’s recurring impulse to dialogue with that history and aesthetic. The nearly three-dozen laser-cut works in Ever Your Friend6 image fragments of photographs that Campbell found in the Lesbian Herstory Archives in Brooklyn. Here, once more, the specified ineffable, that historically situated certain something. The hand holding the cigarette in Invert (burning) brings me to memories of queer gallantry palpable enough to make me want to smoke again. I learned after I first saw the piece that the hand, coming from one of the
few photographs Campbell used of a known subject, belongs to the novelist Radclyffe Hall. Hall is precisely the sort of “invert” I imagine lighting the match, but the identification enhanced pleasures of connection that preceded it. My engagement took another rich turn when Campbell explained to me that she thinks about the work in relation to Elmgren and Dragset’s The Collectors. The artist team turned the Nordic and Danish pavilions at the 2009 Venice Biennale into domestic interiors for fictional neighbors, curating, among other works, the swimsuit specimens of Han and Him’s Butterflies, and an exhibitionist display case of Tom of Finland drawings. For Campbell, the prized objectification and visualization of gay male masculinity offers a productive contrast to the singed shadow outlines of the Ever Your Friend prints, which reference in image and grid layout an archive containing a history of contested invisibility and ambivalence to the expectations of performing for a patriarchal gaze.
7. Page 51. 8. Page 41. 9. Page 27. 10. Page 49.
The grid arrangement of the pieces in Ever Your Friend also echoes other devices in the show—the dickey’s armature, the bed/table frame, and the rectangle of goalie pads, as well as other glories I have not yet mentioned: like the wooden host for the fur muff in Bridge and Tunnel for Walt Whitman7; the platform under the lushly textured fetishist’s dream in Runway’s Scaffold/ Tassels’ Sash8; the marionette contraptions for the jock straps on display in Coquettes (s/l)9 (protection, proximity, comparison, embellishments, how size matters); the rows of lightbulbs over tokens of queer life (homohatred, fighting back, Dorothy Gale) in vs. Vanitas10. Together, the pieces speak to a unifying interest, nicely articulated by the title Etiquette Kit, in presenting structures, contours, and possibility for queer meaning-making and interaction. I’ve been scheming for a while now myself about a massive production of etiquette kits, motivated largely by social occasions derailed by common habits of rotely gendered politeness (Hello, Ladies). As if gender identity were always obvious, or obvious gender presentation didn’t matter, or misgendering might not disappoint, annoy, or devastate the object of one’s friendliness. When I look at the objects and tactics on offer here, the evocative particularities of history, material, and texture, I see how much more broad, queer, and compelling such a project can be.
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INSTALLATION SHOTS
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EXHIBITED WORKS
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A POCKET, A CUE, A SHOT 2012 mattress, 2 x 4s, rubber, stockings 48 x 48 w x 84 in
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BARRICADE 2013 balsa wood, felt 24 x 48 x 24 in
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COQUETTES (S,L) 2013
two jockstraps sized small and large, wood, twine 36 x 12 x 12 in each
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EVER YOUR FRIEND/ SILHOUETTE SERIES 2014 laser cut paper 35 unique prints, 32 x 25 in each, framed
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FOXGLOVES 2012
boxing gloves, fox fur 36 x 12 x 6 in
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GRID FOR A CENTRAL CORE DICKIE 2013 - 2014 cement, latex 24 x 12 x 6 in
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NATURE 2013
mirror ball, steel high chair 36 x 12 x 12 in
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ODE TO A GYM TEACHER 2013 six leather goalie hockey pads 42 x 96 x 12 in
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PASSING 2014
baseball bat, 2 x 4, garters 96 x 24 x 12 in
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RUNWAY’S SCAFFOLD/ TASSELS’ SASH 2014 latex, balsa wood, rubber, jute 12 x 24 x 12 in
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SEMIOTICS, SOFTIE 2014 industrial felt, poplar 72 x 78 x 36 in
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STUDY: STUD WALL PROP FOR SUFFRAGE AND GLORY 2014
poplar, mirrored acrylic, rubber, latex, leather 36 x 48 x 2 in
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VANISHING POINT 2013 - 2014
balsa wood, mylar helium balloon, ribbon, nylon hardware 96 x 36 x 2 in
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VS. VANITAS 2014
mirrored acrylic, light bulbs, poplar, electrical cords 24 x 72 x 12 in
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BRIDGE AND TUNNEL FOR WALT WHITMAN 2014 balsa wood, fur 6 x 12 x 96 in
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ARTIST BIOGRAPHY Anna Campbell (b. 1979, Port Jefferson, New York) is an American artist. She uses sculpture and site-specific installation interwoven with video projection, her work deconstructs otherwise clearly legible signifiers of masculinity and heteronormativity in the service of illustrating alternate histories of attachment and desire. Campbell maintains an active exhibition record including recent solo exhibits at Tractionarts in LA, and the Window Into Houston at the Blaffer Art Museum in Houston, Texas, as well as group exhibits at Seoul National University of Science and Technology in South Korea, Queens College Art Center in New York, and the Hyde Park Art Center in Chicago. She earned a BA in Studio Art from the College of Wooster and an MFA in Sculpture from the University of Wisconsin-Madison. During a recent sabbatical, Campbell set up studio in Brooklyn and Paris. She teaches sculpture, installation and curation as Associate Professor in the Art & Design Department at Grand Valley State University in Michigan. She also served as Visiting Associate Professor/ Artist in Residence at the University of Wisconsin-Madison during the 2013-2014 academic year, teaching courses on feminist and queer art practices, publics and projection, and curation. She currently lives and works between Madison, Wisconsin and New York City. EDUCATION 2006 MFA Sculpture, University of Wisconsin, Madison 2001 BA Studio Art, College of Wooster, Ohio, magna cum laude, Phi Beta Kappa 2001 University of Toledo, Ohio, study in digital media, installation, and public art areas of specialization: sculpture, installation, video
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EXHIBITIONS 2015 Etiquette Kit, BOSI Contemporary, New York, NY The Wet Archive, Chazen Museum of Art, Madison, WI Ever Your Friend exhibited with Issue Press at the LA Art Book Fair, Geffen Contemporary at MOCA, Los Angeles, CA 2014 Ever Your Friend, debuted at Printed Matter’s New York Art book Fair through Issue Press, PS 1, New York, NY Beefcake, TRACTIONARTS, Los Angeles, CA Body, Body, Bodies…, SOMarts, San Francisco, CA 2013 Lesbian Herstory Archive Benefit, Alexander Gray Associates, New York, NY Under Water Into the Sunset (solo), Window Into Houston: Blaffer Art Museum, University of Houston, TX Friendly Gestures [NAMASTE], Queens College Art Center, Queens, NY 2012 Mischief Night (juried), Hyde Park Art Center, Chicago, IL The Slow Club (solo), ACRE Projects and Parlour on Clark, Chicago, IL Acts of Recognition, (invitational) Kendall Gallery, Kendall College of Art and Design, Grand Rapids, MI Ossuary (invitational), Chazen Museum of Art, Madison, WI 2011 Pop-Up Museum of Queer History, Leslie/Lohman Gay Art Foundation, New York, NY Wish You Were Here 10, A.I.R. Gallery, Brooklyn, NY Associations, UICA – Urban Institute of Contemporary Art, Grand Rapids, MI Queer Me, (juried) The Center, New York, NY (a)wake, (invitational), The Cornerstone Building, Grand Rapids, MI 2010 Physical Center (invitational), former Convent of St. Cecilia, Brooklyn, NY New Media, Sex, and Culture in the 21st Century, (juried) MONA – Museum of New Art, Detroit, MI SiTE:LAB (invitational), Lafontsee Gallery Lake St., Grand Rapids, MI Alumni Video Exhibit, (invitational) The Commons – UW Education Building, Madison, WI MultiMedia I, (invitational) PAC Gallery, GVSU, Allendale, MI Seven Easy Steps, (invitational) Horton Gallery, New York, NY Michigan – Land of Riches, (invitational) former Grand Rapids Public Museum, Grand Rapids, MI
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2009 2008 2007 2006
On Snow (juried), BS Gallery, Iowa City, IA P.S. On Lifted, (juried) the REFERENCE Gallery, Richmond, VA Their Daily Bread, (invitational) Leonard at Logan House, Grand Rapids, MI Desire.10, (juried) Logsdon 1909 Gallery, Chicago, IL Plus 3 Ferris Wheels, (juried) CEPA Gallery, Buffalo, NY DDT Delavski dom Trbovlje, Trbovlje, Slovenia Homegrown (juried), SOMArts Gallery, Homo a Gogo festival, San Francisco, CA Brilliant, (juried) Division Avenue Arts Collective, Grand Rapids, MI ArtPrize, Pub 43, Grand Rapids, MI Artists Run Chicago, (invitational, catalog) Hyde Park Art Center, Chicago, IL Polymer, (invitational) Hunter Museum, Chattanooga, TN Wonders of the Woven World, (invitational) South Haven Center for the Arts, South Haven, MI Getting Strong Now (solo), Second Bedroom Gallery, Chicago, IL ACTIVESITE IV, (invitational) Old Federal Building, Grand Rapids, MI The Audacity of Desperation, (juried) The Urbana-Champaign Independent Media Center, Urbana, IL Sea and Space, Los Angeles, CA ACTIVESITE III, (invitational) Old Kindel Furniture Factory, Grand Rapids, MI Speculation (invitational), Commonwealth Gallery, Madison, WI Making Room for Wonder, (juried) SOMArts Gallery, San Francisco, CA Plus 3 Ferris Wheels, (juried) Western Michigan University, Kalamazoo, MI University at Buffalo, Buffalo, NY Alfred University, Alfred, NY Florida State University, Tallahassee, FL The University of Connecticut, Storrs, CT Tennessee State University, Nashville, TN On Procession, (juried) Fountain Square/ downtown Indianapolis, organized by the Indianapolis Museum of Art, Indianapolis, IN Stories To Be Looked At; Pictures To Be Read, (juried) Zolla Lieberman Gallery, Chicago, IL 30 Years/ 30 Cakes, (juried) Urban Institute for Contemporary Arts (UICA), Grand Rapids, MI Visualizing Trans, (juried) The Kupfer Center, Madison, WI Desperado, (solo) Humanities Gallery UW-Madison, WI
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Last Summer, (solo) Commonwealth Gallery, Madison, WI Blindspot (collaboration with the Spectacle Collective) Art Fair on the Square, Madison, WI Nova Art Fair, Chicago, IL You Count the Centuries, I Blink My Eyes, Vilas Hall, UW-Madison, WI TKO,EBCO Station/ Municipal Workshop, Sheboygan, WI North By Northwest, (juried) Commonwealth Gallery, Madison, WI Diamond Ink Gallery, Milwaukee, WI Representative Samples, Humanities Gallery UW-Madison, WI 2005 When Push Comes, (solo) Silo Gallery, Stoughton, WI Think Tank, (juried) Overture Center for the Arts, Madison, WI Menagerie, (invitational) Commonwealth Gallery, Madison, WI Madison Juried Show, Steinhilber Gallery, Oshkosh, WI Second Thoughts, Humanities Gallery UW-Madison, WI, 2004 2004 Dog Days, (solo) 734 Gallery, Madison, WI Ana 33, (juried) Holter Museum of Art, Helena, MT Over Oceans, Through the Air, Beyond All Barriers, (juried) Ironworks Factory, Madison, WI DDD, (invitational) Urban Market, Madison, WI 76th Annual Student Art Exhibit, (juried) Porter Butts Gallery, Madison, WI You Go First, Humanities Gallery, UW-Madison, WI 2003 Citation, Humanities Gallery, UW-Madison, WI Books2Eat, Toledo Museum of Art, OH Guerrilla Gallery, Old Secor Hotel Ballroom, Toledo, OH Real Saints, (invitational, commission) Lourdes College, Toledo, OH Inaugural Exhibit, Parkwood Gallery, Toledo, OH 2002 Real Saints, (invitational) Corpus Christi, Toledo, OH Drawing Resistance, (invitational) Collingwood Arts Center, Toledo, OH Salon de Refuses, (Best in Sculpture Award) 20 North Gallery, Toledo, OH GRANTS AND AWARDS 2012 2011
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Sabbatical, Pedestal and Bar: Site-Specific Installations Imagining Lost Queer Spaces, GVSU, Allendale, MI Faculty Research Grant-In-Aid, GVSU, Allendale, MI
International Day of Soup Grant, awarded to Sunday Soup Grand Rapids by FEAST Brooklyn, FEAST Mass, Philly Stake, and Sunday Soup Chicago 2010 Faculty Mini Grant, GVSU, Allendale, MI 2007 Summer Research Grant-in-Aid, GVSU, Allendale, MI Pew Faculty Teaching and Learning Travel Grant, GVSU, Allendale, MI 2006 Pew Faculty Teaching and Learning Travel Grant, GVSU, Allendale, MI 2005 Professional Development Travel Grant, UW-Madison Art Department, Madison, WI Scholarship for study at Haystack Mt. School of Crafts, UW-Madison Art Department, Madison, WI Commission by the Campus Art Collective for the UW-Madison Political Science Dept, Madison, WI 2004 Rowland Foundation Fellowship, Residency, Vermont Studio Center, Johnson, VT Honorable Mention, 76th Annual Student Art Exhibit, Porter Butts Gallery, Madison, WI BIBLIOGRAPHY AND PRESS (SELECTION) 2012 Power, Matthew. So you think you Can Paint. GQ. New York, N.Y. Conde Nast Publications, September 2012. online edition, retrieved fromhttp:// www.gq.com/entertainment/art-and-design/201209/artprize-rick-devos 2009 On procession: art on parade, Rebecca Uchill, editor; with essays by Fritz Haeg and Nato Thompson. Indianapolis Museum of Art, Indianapolis, IN. 94, 99, 106 2008 On Labor and Looking: Erin V. Sotak’s Consuming Tableaux, (author) Exposure: The Journal of the Society for Photographic Education, Volume 41:2, Fall 2008, p. 12-19. 2007 Video: Anna Campbell, cultureserve.net, Diana McClure, September 2, 2008 http://cultureserve.net/blog/2008/09/02/video-anna-campbell/ Chicago Reader, image featured in Galleries and Museums section of July 20, 2007 LECTURES AND PANELS 2015
Colloquium, Art Department, UW-Madison, Madison, WI
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2014 Colloquium, Art History Department, UW-Madison, Madison, WI Public Sex/Public Gender: A Discussion with Anna Campbell and Jill H. Casid, event and temporary exhibition sponsored by the Office for Public Culture, Grand Valley State University, Grand Rapids, MI Panelist, Public Learning: Curatorial Studio and Pedagogical Exhibitionism, for Curatorial and Exhibition Studies: Bridging Theory and Practice, CAA (College Art Association) Annual Conference, Chicago, IL 2013 Moderator and symposium organizer, Conversations on Curating: Proposals, Pedagogy, Practice, GVSU, Columbia College and UW-Madison, Chicago Cultural Center, Chicago, IL 2012 Session Chair, Flagging: Aesthetic Tactics and Queer Signification, CAA (College Art Association) Annual Conference, Los Angeles, CA 2011 Moderator, Legacy and Desire, discussion during Artprize at UICA, Grand Rapids, MI Panelist, Curating: A Group Discussion, DAAC (Division Avenue Arts Collective), Grand Rapids, MI Session Chair, Teaching the Foundations of Site-Specific Practices, FATE Biennial Conference (Foundations in Art: Theory & Education) St Louis, MO Panelist, Sowing Dissent, for Queer Diaspora, CAA (College Art Association) Annual Conference, New York, NY 2010 Moderator, Video Salon, UICA (Urban Institute of Contemporary Art) Grand Rapids, MI Panelist, Critical Discourse, ArtPrize, Goei Center, Grand Rapids, MI 2009 Moderator, Video Salon, Old Federal Building, Grand Rapids, MI Lecture, Seeding Trilogy, ActiveSite, Grand Rapids, MI Panelist, Artists on Artists SMoCA – Scottsdale Museum of Contemporary Art, Scottsdale, AZ Panelist, Desperado and Saddledrag: Female Performances Queering Cowboys PCA/ACA (Popular Culture Association and American Culture Association National Conference) New Orleans, LA 2008 Workshop Leader, One Stitch After Another: Crochet as a Sculptural Practice, ISC (International Sculpture Center) Conference, Grand Rapids, MI Moderator, ARTSlam, International Sculpture Conference, Grand Rapids, MI 2007 Panelist, Queering Failure, or, Glub! Glub! for Queer Love Boat: The Politics of Inclusion in Visual Culture panel at the College Art Association Annual Conference, Dallas, TX
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2006 2005
Lecture, Making Contact: Boxing and Aesthetics, Friday Night at GRAM Lecture Series, Grand Rapids Art Museum, MI Lecture, Relational Aesthetics: Considering Communities for Art and Experience: Assorted Experiments in American Aesthetics, Fifth Annual Research Conference held by the Philosophy Department at the University of Toledo, OH Panelist, GVSU College of Liberal Arts and Sciences Faculty Research November Colloquium, Allendale, MI Panelist, The Power of Art? Amway Grand Plaza Hotel, Grand Rapids, Michigan Panelist, Notes from a Native Informant on Seeking Aesthetic and Ethical Satisfaction through Queered Representations of the Iconic American Cowboy, Sex/Life/Politics Conference, University of Loughborough, England Lecture, Desperado and Peter Pan Live!: Romantic Considerations of Failure,Wellesley College, Wellesley, MA Lecture, Desperado, Warm Guns and Peter Pan Live!: Romantic Considerations of Failure, California College of the Arts, San Francisco, CA Panelist, Desperado: Romantic Considerations of Failure for the Queer Tactics panel at Trans: A Visual Culture Conference, U-W Madison, WI Presenter, When Push Comes for ArtSlam! International Sculpture Center Conference, Cincinnati, OH Lecture, Romanticizing Failure, University of West Florida, Pensacola, FL Lecture, Warm Guns for Peace, Edgewood College, Madison, WI
CURATORIAL EXPERIENCE 2006-2012 Urban Institute for Contemporary Art Curatorial Board, Grand Rapids, MI 2006 You Count the Centuries, I Blink My Eyes, cross-disciplinary time-based media exhibit, screening and symposium, Vilas Hall, UW-Madison, WI 2005 North by Northwest, UW-Madison/Milwaukee Institute of Art and Design Curatorial Exchange, exhibited at the Commonwealth Gallery, Madison, WI and the Diamond Ink Gallery, Milwaukee, WI Think Tank, (juried) Gallery I & II, Overture Center for the Arts, Madison, WI Menagerie, (invitational) Commonwealth Gallery, Madison, WI 2004 Over Oceans, Through the Air, Beyond All Barriers, Ironworks Factory, Madison, WI
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CONTRIBUTORS Erica Rand Erica Rand is an activist, teacher and writer whose official job is as Professor of Art and Visual Culture and of Women and Gender Studies at Bates College in Lewiston, Maine. She serves on the editorial boards of the journal Radical Teacher, Criticism, and Salacious, a queer, feminist, anti-racist sex magazine (also writing/editing as one of the Salacious Advisors). With Shana Agid she recently co-edited a special issue of Radical Teacher, which just came out in December, called “Beyond the Very Special Guest: Teaching Trans Now.” Her writings include Barbie’s Queer Accessories and The Ellis Island Snow Globe. Her new book, Red Nails, Black Skates: Gender, Cash, and Pleasure On and Off the Ice (Duke University Press, April 2012), grounded in participant-observation work in recreational figure skating. She also chaired the Athletics Committee at Bates from 2008-2014, which, with the Athletics Department to create one of the first transgender inclusion policies in college sports to include recreational as well as intercollegiate activities.
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BOSI Contemporary specializes in Contemporary and Post-War art as well as primary and secondary market work. It focuses on creating a space that will nurture a creative discourse between different facets of art and contemporary culture. International in scope, the gallery exhibits and communicates the work of both emerging and established artists, selected for their unique aesthetic language and fascinating vision. Our objective is to present an ambitious annual program that comprises at least six exhibitions, accompanied by publications and catalogues, an annual museumquality exhibition devoted to a historic or established artist, as well as partnerships which reinforce the influence of art on contemporary culture. Our central concern is to showcase, through our roster of artists as well as exhibitions, how international artists relate to one another at the root of their discipline through visual narratives amid various mediums and techniques. The gallery’s approximate 2,000 sq. ft. location at 48 Orchard Street (between Grand and Hester) in the heart of Lower East Side allows the gallery to be a dynamic space for artists as well as a venue for contemporary culture within our community.
Published by BOSI Contemporary on the occasion of the exhibition Etiquette Kit on view from January 14 to February 14, 2015
BOSI CONTEMPORARY
BOSI Contemporary 48 Orchard Street New York, NY 10002 www.bosicontemporary.com
Copyright © 2015 BOSI Contemporary. All rights reserved. Text Copyright © 2015 BOSI Contemporary. Every effort has been made to contact copyright holders prior to publication. The publisher apologizes for any errors and omissions and welcomes corrections for future issues of this publications.