Federico Campagna argues that “reality” varies with each new era of the world and civilization, in turn shaping the field of what is possible to do, think, and imagine. To him, if we can change the common ground that sustains our common sense, the latter adapts with it. These are not utopias or far-flung historical realities, but practices of “world making.”
One morning, Rob Baerenwiese awoke to discover he was no longer among the living. It was a strange sensation, to say the least. In a physical, tingly, sensate sense, he was still very much alive. At least he felt himself to be. But those feelings, in certain circumstances, don’t amount to much in the grand accounting.
Minich has lived her life identifying as a female artist and exploring the gender duality and fluidity she feels within. Her work makes evident that the caress Irigaray speaks of is sly, humorous, and unavoidable; it affirms her assertion that no one can forbid this plurality, nor a woman’s pleasure in it.
Ian Wilson was a conceptual artist whose influential work took shape after he stopped making monochrome painting and sculpture in favor of uttering single words—first “time,” but also “circle”—to initiate conceptual conversations.
Frank’s “things” often include branches, poles, and wires reaching out into the surrounding space; stools, boxes, and trestles that may serve as pedestals; and African textiles and oriental rugs evoking specific cultural references and an aesthetic of domesticity.