Dress Rehearsal for a Dream Sequence — Anna Campbell

A N N A C A M P B E L L

^{Dress Rehearsal for a Dream Sequence}

^{Prototype for a Dream Sequence}

^{Apparatus for a Dream Sequence}

^{Etiquette Kit}

^{site & citation}

^editions

^about

^{Bowtie valet}

A worn yellow metal stand with curved legs leans against a white wall; an untied pale pink bow tie hangs over its top bar.

^{An untied pink latex bowtie draped over a scuffed yellow steel
pushcart handle operates as a kind of portrait for a rust belt dandy.}

^{steel, latex
18”w x 35”h x 3”d

2022}

^{Title IX}

An industrial scaffolding structure stands against a white gallery wall, topped with large illuminated marquee letters spelling “TITLE.” Two additional lit letters, “I” and “X,” sit on wheeled platforms below, with orange electrical cords visible on the floor.

A long, narrow sheet of wood veneer with a triangular notch cut out of the end hangs from metal scaffolding. Orange extension cords lie coiled on the floor.

Two illuminated marquee letters, “I” and “X,” glow on small wheeled platforms beneath metal scaffolding in a gallery space. Orange extension cords lay across the wooden floor.

^{Rendered in
theatrical marquee letters, and balanced precariously on and underneath
scaffolding, Title IX appears both in the process of construction and
deconstruction.

The Act,
famously and infamously responsible for equitable access for women and girls to
play sports, and for addressing sexual violence on college campuses, has also
become a tool to harass feminist and queer educators, and to persecute trans
women and girl athletes.}

^{mahogany veneer, plywood, lightbulbs, clamps, electrical
cords, dollies

108”h x 156”w x 72”d

2022}

^Chest

A tall, narrow wood structure stands upright against a white gallery wall, its surface showing the natural grain of light plywood. Embeded at the top left is a smaller, thinner wood panel with two knots that resemble nipples.

^{This rough and
repurposed plywood and stud form has been amended with a small sheet of hickory
veneer. Leaned against the wall, the
object approaches human scale and form; the knots of the hickory indicate anthropomorphic
nipples as much as they offer an index for two branches that would once have
grown at those sites.}

^{plywood, hickory veneer,pine 2x4s

24”w x 48”h x 5”d

2022}

^{Pearl necklace diagram}

A framed wooden panel leans against a white wall, engreaved with a sepia-toned image of a masculine mannequin torso wearing a pearl necklace, alongside small etched drawings of scaffolding and a gym pommel horse.

^{In this fine grain study of masculine-coded infrastructural supports, a butch mannequin bust with a string of pearls, an etched schematic for a scaffold, and an inlaid pommel horse are set into the frame of a vintage tv tray.}

^{maple, birch and hickory veneer, TV tray frame,
plywood

18”w x 24”h x 1/2”d

2022}

^{Scene Two}

^{An iterative installation, Scene Two acts as an exploded
diagram for an expansive archive of feminist and queer
iconography. The cacophony of forms
stages an homage/ grudge match through such entries into the archive as a
curtain-scale dental dam, a lavender labrys, turned wooden replicas of the head
of a Hitachi Magic Wand, an Andrea Dworkin citation, a fragment from Sondheim’s Gypsy, and a crate with the silhouette of the Ladies of Llangollen,
whose romance spanned the 18th and 19th centuries.

Slippages between
floor and wall, and found and fabricated forms interrupt binary structures and
taxonomies. High and low meet where the pattern
of the floor at Versailles - now memed by woodworkers across centuries and
geographies - backs a stud wall library ladder and serves as a “surface” for a
pair of boxer briefs. More library ladders flank construction scaffolding, which pierces the wall.}

^{systems scaffold, steel, iron, wood, latex, silicone

dimensions variable

2022}