If you’re curious about contemporary art, literature, music, fashion, philosophy, and film…especially strange, thought provoking, wild, experimental, avant-garde weirdness, then this is the newsletter for you!

Your paid subscription will get you two curated newsletters (on or about the 8th & 24th) packed with marvelous artworks. And then in-between those two monthly newsletters, I'll share other miscellaneous unscheduled tidbits of interest for free.

***Important Note*** because of the extreme length of the entries, most of these newsletters exceed email word count limits therefore they will arrive in your inbox as a "Message clipped." Simply click on the content in the email and it will take you to the full newsletter online.


From 2006-2013, I created Bright Stupid Confetti, an online assemblage of contemporary art and culture that Art in America praised as “…one of the more innovative and quixotic curated art websites in the blogosphere.”

While it began as as a personal blog, it quickly morphed into a public-facing art gallery experiment where I collected and arranged images, writing, videos, and other provocative bits of strangeness I found around the web, as a type of collage. Over the years, I experimented with other formats: Tumblr for a while, then Twitter, and I even considered rebooting it on Entropy where I served as a contributing editor, but none of those felt right. Toward the end of B.S.C.’s run, I expanded the format to include guest curators and individual essays on artists written by writers. Unfortunately, other responsibilities mounted so I drifted away from the project.

Thankfully, conditions have changed and I am now ready to begin the curation once again!

About the Curator

I’m a recently tenured Associate Professor of narrative theory and technique at California State University Northridge. I hold a Ph.D. in Post-1900 American Literature & Culture from Florida State, an M.F.A. in Fiction Writing from Ohio State, an M.A. in English from Nebraska, and a B.A. in Film Production & Screenwriting from UNLV. I’ve published two novels, a memoir, two chapbooks, and over a hundred shorter works in peer-reviewed literary journals and magazines such as The Paris Review, BOMB, Denver Quarterly, DIAGRAM, and Global Queer Cinema.

My only formal experience in a traditional gallery setting came from two years serving as a Docent for the Sheldon Museum of Art in Lincoln, Nebraska back in the mid 2000s. Otherwise, I’m an art world outsider. As Art in America put it, “Higgs takes contemporary art images out of the hands of gallery and museum-sanctioned curators, and into the arms of a renegade whose way of uniting images and text feels more related to poetry than to the expectations of art curation.”

For Aesthetic Calibration

Gertrude Stein’s TENDER BUTTONS, Death Grips’s EXMILITARY, Iris Van Herpen's FALL/WINTER 2019, Stan Brakhage’s MOTHLIGHT, Cajsa von Zeipel’s NINE LIVES, Simon Pummell's BODYSONG, Andrea Carlson’s EAT-ALL, Gregory Jacobsen's AUTUMN PINATA, Miles Davis’s ON THE CORNER, Martin Margiela’s SPRING/SUMMER 1990, Hearty White's MIRACLE NUTRITION, Glendalys Medina's THE SHANK, Reza Negarestani's CYCLONOPEDIA, Paul McCarthy's PAINTER, Beverly Semmes’s ANTENNA, Hans Rickheit's THE SQUIRREL MACHINE, Yoko Ono’s CUT PIECE, Thom Browne's SPRING/SUMMER 2020, Diamanda Galas’s LITANIES OF SATAN, Jean-Luc Godard's HISTOIRE(S) DU CINEMA, Samuel R. Delany’s DHALGREN, Genieve Figgis’s LADIES, Ryan Trecartin’s I-Be AREA, Gilles Deleuze & Félix Guattari’s A THOUSAND PLATEAUS, Trinh T. Minh-ha's REASSEMBLAGE, Wolves in the Throne Room’s BLACK CASCADE, Mandy El-Sayegh's PROTECTIVE INSCRIPTIONS, Alexander McQueen’s SPRING/SUMMER 1999, Damien Hirst’s IN & OUT OF LOVE, Tierra Whack’s WHACK WORLD, Matthew Barney's CREMASTER CYCLE, Nathaniel Mary Quinn’s SWIRL, Boredoms's POP TATARI, David Lynch’s TWIN PEAKS: THE RETURN, and RuPaul’s DRAG RACE, to name but a few.


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