https://annacampbell.net Anna Campbell Sat, 10 Jan 2026 15:49:54 +0000 https://annacampbell.net en https://annacampbell.net/Header-Gangitano Tue, 14 Mar 2023 19:45:12 +0000 Anna Campbell https://annacampbell.net/Header-Gangitano <img width="1920" height="1920" width_o="1920" height_o="1920" data-src="https://freight.cargo.site/t/original/i/7d074d2ad134dbdbc5c63da1ee402874f41ec6b4bcea97b1c27e123bddcb0132/campbell_dream.jpeg" data-mid="171662180" border="0" alt="Wood objects and boards leaning against a white wall, arranged alongside small sculptural forms on a concrete floor." data-caption="Wood objects and boards leaning against a white wall, arranged alongside small sculptural forms on a concrete floor." src="https://freight.cargo.site/w/1000/i/7d074d2ad134dbdbc5c63da1ee402874f41ec6b4bcea97b1c27e123bddcb0132/campbell_dream.jpeg" /> The Dream Sequence and the scaffolding and marquetry elements within it can be understood as parts of a conceptual schematic, wherein Campbell inlays a politic, a handiwork of queer citation. Campbell’s dress rehearsal unfolds itself spatially and visually within three Scenes, each of which includes various relational components that create spacings in between the damages of past and present, for material encounters between the speculative might have been and a future perfect. Carefully rendered and manipulated objects [...] can be found in these constructed scenes that rely on juxtaposition and an accretion of reference and material. The thick discourse produced from these situational assemblages emerges from the language of hyper-indexical production physically apparent in the design of Dress Rehearsal. -Lia Gangitano, Founder/ Director PARTICIPANT INC https://annacampbell.net/Header-Clements Sat, 10 Jan 2026 15:49:54 +0000 Anna Campbell https://annacampbell.net/Header-Clements <img width="1350" height="1800" width_o="1350" height_o="1800" data-src="https://freight.cargo.site/t/original/i/a5cd4c58ada14a835e15c682fa30a47af363ea32356149af454f08ff429e9578/chest-campbell-campbell.jpg" data-mid="242705548" border="0" alt="A close-up view of a scaffold from which hangs a curtain of latex. Behind it, three small wood sculptures sit on a scaffolding shelf." data-caption="A close-up view of a scaffold from which hangs a curtain of latex. Behind it, three small wood sculptures sit on a scaffolding shelf." src="https://freight.cargo.site/w/1000/i/a5cd4c58ada14a835e15c682fa30a47af363ea32356149af454f08ff429e9578/chest-campbell-campbell.jpg" /> Anna Campbell’s “Chest” (2022) is more coy in its humor. Composed of plywood, pine, and a rectangle of hickory veneer, that odd imposition of veneer on top of plywood, itself made up of layers of veneer, begs all sorts of questions. Does the title reference anatomy or furniture? The artist’s layering and editing projects both playful and serious dimensions. Given Campbell’s interest in queerness, “Chest” suggests the ways that the bodies of queer and cis people alike change, intentionally and over time, and our society’s very different readings of those changes across identity groups. -&nbsp;Alexis Clements in “What Can Art Expose About Us?” Hyperallergic. April 1, 2025 https://annacampbell.net/Header-Moreno Tue, 14 Mar 2023 19:41:09 +0000 Anna Campbell https://annacampbell.net/Header-Moreno <img width="1350" height="1800" width_o="1350" height_o="1800" data-src="https://freight.cargo.site/t/original/i/3a6c16d0d17832dde8885c1f4dd2098dd7459dba7919c69d8b6a0c2b343a1684/Scene-Two-detail-19-campbell.jpg" data-mid="171653210" border="0" src="https://freight.cargo.site/w/1000/i/3a6c16d0d17832dde8885c1f4dd2098dd7459dba7919c69d8b6a0c2b343a1684/Scene-Two-detail-19-campbell.jpg" /> The big irony of the show, which is already filled with irony and humor, is that these precarities are a strength and from that strength springs a beauty that is hard to overlook. Anna Campbell does not hit you over the head with a mandate, rather she provides gaps where the viewer marinates in their own mysteries.&nbsp; There are the simple mysteries, like what does this sculpture mean, but larger ones about how we live our gender, how we perceive and speak about the gender of others, what is our history, is there an “our” history. When you feel saturated with these quandaries, however, Campbell provides something great to look at, you can always just go back to the looking. -&nbsp;Paul&nbsp;Moreno in “Anna Campbell: Dress Rehearsal for a Dream Sequence” New Art Examiner. Spring Quarter 2022. https://annacampbell.net/Header-Collins Sun, 13 Oct 2019 17:22:18 +0000 Anna Campbell https://annacampbell.net/Header-Collins <img width="4912" height="2760" width_o="4912" height_o="2760" data-src="https://freight.cargo.site/t/original/i/b136280bdf714d9c0a9bd8494a3aab4f78dafcd4ca70f07ca06687c46316dd4c/anvil04-copy.jpg" data-mid="52583748" border="0" alt="Two rough, gray, anvil-shaped sculptures sit side by side atop a yellow spray-painted metal ladder." data-caption="Two rough, gray, anvil-shaped sculptures sit side by side atop a yellow spray-painted metal ladder." src="https://freight.cargo.site/w/1000/i/b136280bdf714d9c0a9bd8494a3aab4f78dafcd4ca70f07ca06687c46316dd4c/anvil04-copy.jpg" />Anna Campbell makes elegant, precise, humorous, and poetic sculpture about queerness.&nbsp; She often references and meticulously rebuilds construction elements like scaffolding, cinder blocks, and sawhorses, and pairs them with equally high-crafted and frilly latex textiles.&nbsp; A balloon, a disco ball, a shopping cart, boxing gloves, a mink stole, a catcher’s mitt - these are some of the objects that occupy Anna’s material vernacular in semi-surrealist visual statements that assert a tough and tender stance of love, power and desire. - Liz Collins in Into that Fog: Queer|Art|Mentorship Fellows Exhibit, catalog, New York, NY, 2017. Print. https://annacampbell.net/Header-Morris Wed, 07 Mar 2018 14:03:09 +0000 Anna Campbell https://annacampbell.net/Header-Morris <img width="3024" height="2833" width_o="3024" height_o="2833" data-src="https://freight.cargo.site/t/original/i/7b61a4c60f310b9103eed9a6c9257d08837105f2b216d87a519168573f282085/fig_uic002.jpg" data-mid="52583648" border="0" alt="four copper patinaed bronze fig leaves hung on a white wall at eye level to nearby gallery visitors" data-caption="four copper patinaed bronze fig leaves hung on a white wall at eye level to nearby gallery visitors" src="https://freight.cargo.site/w/1000/i/7b61a4c60f310b9103eed9a6c9257d08837105f2b216d87a519168573f282085/fig_uic002.jpg" /> 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.&nbsp; 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. https://annacampbell.net/Header-Kim Thu, 14 Sep 2017 05:19:37 +0000 Anna Campbell https://annacampbell.net/Header-Kim <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/127dd6ae5542c266d27785bbd7b1510be11b43b5a48f7bad6cb8d1263d5a94cb/ll_sash.jpg" data-mid="4578746" border="0" alt="A ruffled pink, red and tan latex sash droops over five miniature balsa wood sawhorses, displayed in a museum vitrine." data-caption="A ruffled pink, red and tan latex sash droops over five miniature balsa wood sawhorses, displayed in a museum vitrine." src="https://freight.cargo.site/w/1000/i/127dd6ae5542c266d27785bbd7b1510be11b43b5a48f7bad6cb8d1263d5a94cb/ll_sash.jpg" />'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&nbsp;August 31, 2017. Web. https://annacampbell.net/Header-Rand Wed, 30 Aug 2017 05:16:43 +0000 Anna Campbell https://annacampbell.net/Header-Rand <img width="1000" height="1000" width_o="1000" height_o="1000" data-src="https://freight.cargo.site/t/original/i/33b2013d08a69c074439f757a9492d13d7a374cd719246dfde76132d13cea7a4/radhal.jpg" data-mid="4588238" border="0" alt="white paper with laser cut silhouette of two hands, one gesturing with a cigarette" data-caption="white paper with laser cut silhouette of two hands, one gesturing with a cigarette" src="https://freight.cargo.site/w/1000/i/33b2013d08a69c074439f757a9492d13d7a374cd719246dfde76132d13cea7a4/radhal.jpg" /> 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. https://annacampbell.net/Header-Colucci Mon, 28 Aug 2017 06:02:03 +0000 Anna Campbell https://annacampbell.net/Header-Colucci <img width="1000" height="1014" width_o="1000" height_o="1014" data-src="https://freight.cargo.site/t/original/i/839b275b74db38306ac9eb4b1c888666f8050c4b924fb84459beea0b6740593d/etiquette.jpg" data-mid="4578704" border="0" alt="A white mattress with a blue, brown, and orange floral pattern rests inside a wooden frame shaped like a pool table, with black plastic pockets. In the background are a series of sculptures." data-caption="A white mattress with a blue, brown, and orange floral pattern rests inside a wooden frame shaped like a pool table, with black plastic pockets. In the background are a series of sculptures." src="https://freight.cargo.site/w/1000/i/839b275b74db38306ac9eb4b1c888666f8050c4b924fb84459beea0b6740593d/etiquette.jpg" />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.’&nbsp;Filthy Dreams. 22 Feb. 2015.&nbsp; Web. https://annacampbell.net/Bowtie-valet Tue, 24 May 2022 14:54:19 +0000 Anna Campbell https://annacampbell.net/Bowtie-valet Bowtie valet <img width="4500" height="6000" width_o="4500" height_o="6000" data-src="https://freight.cargo.site/t/original/i/47227c154db51dbe68ae8c930b035d024cd45077c781f869824340ad8282798d/Bowtie-valet.jpg" data-mid="143521276" border="0" data-scale="55" alt="A worn yellow metal stand with curved legs leans against a white wall; an untied pale pink bow tie hangs over its top bar." data-caption="A worn yellow metal stand with curved legs leans against a white wall; an untied pale pink bow tie hangs over its top bar." src="https://freight.cargo.site/w/1000/i/47227c154db51dbe68ae8c930b035d024cd45077c781f869824340ad8282798d/Bowtie-valet.jpg" /> An untied pink latex bowtie draped over a scuffed yellow steel pushcart handle operates as a kind of portrait for a rust belt dandy. &nbsp; steel, latex18”w x 35”h x 3”d 2022 https://annacampbell.net/Title-IX Tue, 24 May 2022 14:32:44 +0000 Anna Campbell https://annacampbell.net/Title-IX Title IX <img width="1800" height="1350" width_o="1800" height_o="1350" data-src="https://freight.cargo.site/t/original/i/dca6c5d1b1bf8076089606f79ec697886709c659b4e46345f15bb5a832213ff3/Title-IX-02-campbell.jpg" data-mid="143522173" border="0" data-scale="57" alt="An industrial scaffolding structure stands against a white gallery wall, topped with large illuminated marquee letters spelling &ldquo;TITLE.&rdquo; Two additional lit letters, &ldquo;I&rdquo; and &ldquo;X,&rdquo; sit on wheeled platforms below, with orange electrical cords visible on the floor." data-caption="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." src="https://freight.cargo.site/w/1000/i/dca6c5d1b1bf8076089606f79ec697886709c659b4e46345f15bb5a832213ff3/Title-IX-02-campbell.jpg" />&nbsp; &nbsp;<img width="1322" height="1800" width_o="1322" height_o="1800" data-src="https://freight.cargo.site/t/original/i/05639d5a570f87f400653786ed26019d9d68081b8fb6e19498adb40f9383f21d/Scene-One-detail-01-campbell.jpg" data-mid="143522132" border="0" data-scale="38" alt="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." data-caption="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." src="https://freight.cargo.site/w/1000/i/05639d5a570f87f400653786ed26019d9d68081b8fb6e19498adb40f9383f21d/Scene-One-detail-01-campbell.jpg" /><img width="1080" height="810" width_o="1080" height_o="810" data-src="https://freight.cargo.site/t/original/i/3ee2c2f7d0420a6b2271c3c2e37e09e332bad7d691ec387d03ee6bc442f27765/Title-IX-IX-detail-campbell.jpg" data-mid="171484173" border="0" data-scale="57" alt="Two illuminated marquee letters, &ldquo;I&rdquo; and &ldquo;X,&rdquo; glow on small wheeled platforms beneath metal scaffolding in a gallery space. Orange extension cords lay across the wooden floor." data-caption="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." src="https://freight.cargo.site/w/1000/i/3ee2c2f7d0420a6b2271c3c2e37e09e332bad7d691ec387d03ee6bc442f27765/Title-IX-IX-detail-campbell.jpg" /> Rendered in theatrical marquee letters, and balanced precariously on and underneath scaffolding, Title IX appears both in the process of construction and deconstruction.&nbsp; 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. &nbsp;&nbsp; &nbsp; mahogany veneer, plywood, lightbulbs, clamps, electrical cords, dollies 108”h x 156”w x 72”d 2022