Anna Higgins: Total Montage
Anna Higgins’s work operates within a cinematic, layered logic of montage—an intricate interplay of history, memory, and materiality.
By Giles Fielke
Issue 1, Summer 2023/24
“I just want to be like Scott Walker,” Anna Higgins tells me. Later, she quotes from a profile of the musician to clarify what she means: “like Andy Williams reinventing himself as Stockhausen.” This description, offered by Simon Hattenstone, encapsulates Walker’s career trajectory — from a member of the sixties pop group The Walker Brothers, to reclusive solo artist and experimentalist prior to his death in 2019.
Exclusive to the Magazine
Anna Higgins: Total Montage by Giles Fielke is featured in full in Issue 1 of Memo magazine.
Get your hands on the print edition through our online shop or save up to 20% and get free domestic shipping with a subscription.
Related
Isa Genzken’s 75/75 retrospective at Berlin’s Neue Nationalgalerie lands her sculptures in a glass-walled “lobby,” a space between utopian modernism and corporate sterility. From her precise Ellipsoids to chaotic assemblages, the show clarifies her art’s ongoing friction with architecture, history, and sculptural convention.
The Tennant Creek Brio’s art isn’t a legible script, a tidy lineage, or an easy metaphor—it’s a rupture, a refusal, a site of resurgence. This story sends us somewhere else, reaching for something that came before or after, looking for what’s out back, round the back of the house, the shed, the art centre, the “outback.”
Collaboration has become a buzzword among contemporary art’s cultural bureaucrats and market operatives.