Billy Quinn 1954:
Make-Up Free Rrose Cornered, An Occasional Table, and An All-Enveloping Pouffe (with Storage)
Billy Quinn 1954:
Festive Duchamp Pez Container (with Easy-flip Head)
Billy Quinn 1954:
Marcel and the Botox Question
Billy Quinn 1954:
Look Ma, No Hands!
Billy Quinn 1954:
Ladybug Rrose Sélavy in Drag as David in Drag
Billy Quinn 1954:
The 'Full Irish' Camouflage
Billy Quinn 1954:
Irish Gothic
Billy Quinn 1954:
The Afterparty After the Party Was Over, We Were All DADA Now
Billy Quinn 1954:
Super-Chickenwoman Deserves Reviving (Chicken Scratchings)
Billy Quinn 1954:
Though I will Always Be a Fan(boy) of 'Concrete' and Truthiness
Billy Quinn 1954:
The Idea That a Half-blind Irish Writer, a Petulant French Dadaist, a French Absurdist (Absinthe Soaked) Playwright, and a Cloned Sheep Morphing Into a Chickenman, Could Take on The Emerging Might of UBU Rex and Mylon Tusk (The Richest Rhino in the Known
Billy Quinn 1954:
Mystic Marcel Predicts a Worldwide Neo-Classical Revival in the Arts
Billy Quinn 1954:
"The scene… is set in Poland, which is to say, Nowhere", _ Alfred Jarry
Billy Quinn 1954:
Nostalgia
Billy Quinn 1954:
And in the Opposite Corner, Imagining the Antithesis
Billy Quinn 1954:
If They Were Planning to Lead Any Type of Resistance Against UBU Roi and Mylon Tusk, Then Eye and Jazz-Hand Coordination Would Be Essential.
Billy Quinn 1954:
Great Article on James Joyce Dancing (Drawing by Peter Chrisp).
Rising Tide Images:
Making Mongoose
