For the Failure Biographies project, I’ve been (re)making comics from an old golden age title, Weird Comics. Two current examples.
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 (xenophobic/ racist) quest for the ideal primitive.
UPDATE: This full piece now appears in Aquifer: The Florida Review. Read the comic.
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.
UPDATE: This full piece, “The Outcast (Tomb of Terror # 14),” now appears in Entropy‘s The New Comics series. Read the comic.
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.