Consider Fahrbare schwarze Sesselgruppe (Driveable Black Group of Chairs)(1971), a pair of black and chrome forms on casters joined by drooping hoses; and Fingerbank (1979), a collection of
pendulous black tubes encased in glass — both of which featured prominently in «Ungestalt,» a group show at the Kunsthalle Basel last summer, alongside work by a multi-generational group of artists, from Marcel Duchamp to Adrián Villar Rojas.
And how can you not love Bailey's story of the Creature from the
Black Lagoon who, brought to Hollywood with promises of work as an actor, amidst lunches of sushi, love advice from Boris Karloff, and the ever more
pendulous gravity of memory, ends up trapped in making a film of what is, essentially, his true story, just another goddamn monster flick?