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
Sabsabi’s YOU enacts the media's capacity to create structural and political dissonance.
Tim Burns’s art blurs fiction and reality, often staging disasters before they happen. His 1972 Ghost Train redesign eerily foreshadowed the 1979 Luna Park fire, just as his 1977 film Why Cars? uncannily prefigured 9/11. Through rupture, collision, and shock, Burns’s work remains less prophetic than provocatively attuned to history’s unfolding disasters.
Jas H. Duke was a poet, performer, and anarchist whose art erupted from the margins. In 1973, he returned to Melbourne after years in England, bringing with him an electrified style of performance poetry and a deep affinity for Dada. A fixture of underground cinema and experimental literature, Duke remains difficult to contain.