An example of revision: a new version of the second page of “End Result,” which chronicles a clash between different factions of artists at New York’s second annual Festival of the Avant-Garde.
2 pages from an in-progress piece about the 1964 Fluxus artist protest, “Action Against Cultural Imperialism”
A selection of panels from “Riddle of the Runaway Earth (Benjamin Patterson 1934-2016).” All words in speech balloons are Patterson’s own.
See examples of Benjamin Patterson’s work in the African American Performance Art Archive.
Bishop’s letters reveal a particularly fraught relationship with everyone, including Lispector, she considered “primitive.” This piece deals with her (racist) quest for the ideal primitive.
Four final panels from my piece on Baroness Elsa von Freytag-Loringhoven. I can’t recommend Body Sweats: the Uncensored Writings of Elsa von Freytag-Loringhoven and Irene Gammel’s Baroness Elsa enough. The text in the speech bubbles is from a letter written to Djuna Barnes.
More from my current failure project and the Baroness Elsa von Freytag-Loringhoven. This section deals with her great readymade God, which was misattributed to a male artist for nearly a century. Indicative of the treatment of female artists by the historic avant-garde, the Baroness’ work suffers under a pattern of misattribution and neglect.
Part of the Failure Project. Was Baroness Elsa von Freytag-Loringhoven actually R. Mutt?
An excerpt from John Higgs’ Stranger Than We Can Imagine: Making Sense of the Twentieth Century, in which he discusses this possibility.
Consider reading Irene Gammel’s essential biography, Baroness Elsa: Gender, Dada, and Everyday Modernity.