Crystal Z Campbell
Oklahoma City, OK
Crystal Z Campbell is a multidisciplinary artist, experimental filmmaker, and writer of Black, Filipinx, and Chinese descents. Campbell finds complexity in public secrets—fragments of information known by many but undertold or unspoken. Recent works poetically engage history through archival interventions, including poetic works constellating the longstanding effects of the 1921 Tulsa Race Massacre, questions of immortality and medical ethics with Henrietta Lacks’ “immortal” cell line, the role of a political monument in a Swedish coastal landscape, and the completion of an unfinished 35mm film from a demolished Black activist theater in Brooklyn as a relic of gentrification. A 2021 Guggenheim Fellow in Fine Arts and current UB Center for Diversity Innovation Distinguished Visiting Scholar, their archive-driven work around public memory in film/video, performance, installation, sound, painting, and text, has been exhibited at The Drawing Center, ICA-Philadelphia, Studio Museum of Harlem, SculptureCenter, Bemis, and SFMOMA. Honors and awards include the Pollock Krasner Award, MAP Fund, MacDowell, Tulsa Artist Fellowship, UNDO Fellowship, Skowhegan, Rijksakademie, Whitney ISP, Franklin Furnace, and Flaherty Film Seminar. Campbell’s writing has been featured in World Literature Today, Monday Journal, GARAGE, Hyperallergic, and two artist books published by VSW Press. Campbell was a Harvard Radcliffe Film Study Center & David & Roberta Logie Fellow in 2020–21, and is founder of the virtual programming platform archiveacts.com.
Crystal Z Campbell is a multidisciplinary artist, experimental filmmaker who finds complexity in public secrets — fragments of information known by many but untold or unspoken.Artist Bio
Post Masters is an experimental film, performance, painting, and publication project considering intersections between the United States Postal System (USPS) and US Military through the lens of both Filipinx and Black histories. Throughout the project, the US-Filipinx relationship will be considered alongside parallel histories of Black Americana in US expansion and imperialism, using the artists’ intertwined Black and Filipinx family histories as a viewfinder to frame what it means to be(come) American.