Anna Campbell

^{Apparatus for a Dream Sequence}

^{Etiquette Kit}

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^{Weaving queer narratives through her richly symbolic material, Campbell’s Etiquette Kit proves that conceptual art can still be subversive, outspoken, political and provocative.

– Emily Colucci in Of Discoballs and Baseball Bats: Anna Campbell’s Queer Objects in ‘Etiquette Kit.’ Filthy Dreams. 22 Feb. 2015. Web.}

^{Now you see it and you don't. Or, more precisely, now you see it as you supplement it. The hands lighting the cigarette in ‘Invert (lighting)’ and holding the cigarette in ‘Invert (burning)’ brought me to memories of queer gallantry palpable enough to make me want to smoke again […] Other pieces in the collection ‘Etiquette Kit,’ which includes the ‘Silhouette Series,’ also reward lingering if you are thinking about the gendered visuals and materials of athleticism. Competition, posturing, come-hither bravado, protection (sort-of), how size matters […]

- Erica Rand in “Hip Openers: On the Visuals of Gendering Athleticism.” Queer Difficulty in Art and Poetry: Rethinking the Sexed Body in Verse and Visual Culture, edited by Jongwoo Jeremy Kim and Christopher Reed, Routledge, 2017. 159, 161. Print.}

^{'the ceremony that this /sash must adorn with panache is ambiguous and is many things at once in age, periodization, sex, and gender. Finally, the easy-to-miss unfilled space before the slash is forever, richly ill-defined to form “[?]/sash.” When it is not a sash, what is it?

- Jongwoo Jeremy Kim in “}^{“All Manner of ‘Becomings’”: The Ambiguous Pleasures of the Expanded Leslie-Lohman Museum of Gay and Lesbian Art.” ASAP Journal August 31, 2017. Web.}

^{Anna Campbell’s “I have nothing to declare except my genius,” said Oscar Wilde to the customs agent. (2017) is a set of bronze fig leaves that quote from the convention of sculpted leaves to cover nudity during modest and repressive periods of art history. The leaves alone on a wall, each bulging suggestively, are more than simple phallic signifiers; they gesture to precisely a phantasmic actor or object of desire, and in so doing form a critique of how power is often masked in such institutional settings as white gallery walls (and the white bodies privileges in their proximity).

- Matt Morris in “Let Me Be an Evil Genie of Objects That Screams.” Let Me Be An Object That Screams, edited by Matt Morris. Chicago: Gallery 400, University of Illinois at Chicago, 2017. 111. Print.}

^{Chosen Family, Chosen Name, Separatist, Safe Space, Expat, Invert, Homophile, Homestead}

^{This work’s title is an assemblage of diverse
strategies and terms that LGBT and other marginalized
people have used over generations to mark the labor of making and naming home. Scaffolding operates here as a material metaphor for social
constructions broadly. Cordial glasses further call to mind shared spaces where people
come together to socialize. Ribboned text from the laser-cut marquetry bar top pronounces “We Must Take Ecstasy,” citing the conclusion of queer theorist José Esteban
Muñoz’s nal book Cruising Utopia, in which the operative word is “Take” and the obligation
of the communal “We” is to actively construct for ourselves a commitment to ecstatic experience as a tool to work towards a utopic future.}

^{laser marquetry, poplar bar rail, plywood, lumber, scaffold, cordial glasses,
velvet dress, velvet stanchions, 54”h x 42”w x 120”l

2016}