Marjorie Cameron

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Marjorie Cameron
occultism, surrealism
Spouses
  • (m. 1946; died 1952)
  • Sheridan Kimmel
    (m. 1959; died 1966)
Children1

Marjorie Cameron Parsons Kimmel (April 23, 1922 – July 24, 1995), who professionally used the

Jack Parsons
.

Born in

Babalon Working. They entered into a relationship and were married in 1946. Their relationship was often strained, although Parsons sparked her involvement in Thelema and occultism. After Parsons' death in an explosion at their home in 1952, Cameron came to suspect that her husband had been assassinated and began rituals to communicate with his spirit. Moving to Beaumont, she established a multi-racial occult group called The Children, which dedicated itself to sex magic rituals with the intent of producing mixed-race "moon children" who would be devoted to the god Horus. The group soon dissolved, largely because many of its members became concerned by Cameron's increasingly apocalyptic
predictions.

Returning to Los Angeles, Cameron befriended the socialite

West Hollywood
, where she raised her daughter and grandchildren, pursued her interests in esotericism, and produced artwork and poetry.

Cameron's recognition as an artist increased after her death, when her paintings made appearances in exhibitions across the U.S. As a result of increased attention on Parsons, Cameron's life also gained greater coverage in the early 2000s. In 2006, the Cameron–Parsons Foundation was created to preserve and promote her work, and in 2011 a biography of Cameron written by Spencer Kansa was published.

Biography

Early life: 1922–1945

Cameron was born in

Davenport High School.[9] Leaving school, she worked as a display artist in a local department store.[9]

Following the United States' entry into the

AWOL and returned to Iowa to see him, as a result of which she was court–martialed and confined to barracks for the rest of the war.[12] For reasons unknown to her, she received an honorable discharge from the military in 1945. To join her family, she traveled to Pasadena, California, where her father and brothers had found work at the Jet Propulsion Laboratory (JPL).[13]

Jack Parsons: 1946–1952

A young white male with dark hair, facing the camera. The image is in black and white.
Jack Parsons, Cameron's first husband

In Pasadena, Cameron ran into a former colleague, who invited her to visit the large

Babalon Working, a rite to invoke the birth of Thelemite goddess Babalon onto Earth in human form.[16]

During a brief visit to New York City to see a friend, Cameron discovered that she was pregnant and decided to have an abortion.

confidence trickster, who tried to flee with Parsons' money, resulting in the end of their friendship.[18] Returning to Pasadena, Cameron consoled Parsons, painting a picture of Northrup with her legs severed below the knee.[19] Parsons decided to sell The Parsonage, which was then demolished for redevelopment, and the couple moved to Manhattan Beach. On October 19, 1946, he and Cameron married at the San Juan Capistrano courthouse in Orange County, in a service witnessed by his best friend Edward Forman.[20] Having an aversion to all religion, Cameron initially took no interest in Parsons' Thelemite beliefs and occult practices, although he maintained that she had an important destiny, giving her the magical name of "Candida", often shortened to "Candy", which became her nickname.[21]

A bald, middle-aged white man staring straight at the viewer.
Cameron embraced the ideas of English occultist Aleister Crowley.

In the winter of 1947, Cameron travelled from New York to Paris aboard the SS America with the intention of studying art at the

James Frazer's The Golden Bough, Heinrich Zimmer's The King and the Corpse, and Joseph Campbell's The Hero with a Thousand Faces.[23] Although she still did not accept Thelema, she became increasingly interested in the occult, and in particular the use of the tarot.[23]

Parsons' and Cameron's relationship was deteriorating and they contemplated divorce.

beat generation, and Cameron attended the jazz clubs of Central Avenue with her friend, the sculptor Julie Macdonald.[27] Cameron produced illustrations for fashion magazines and sold some of her paintings, including some purchased by a friend, the artist Jirayr Zorthian.[28] Parsons and Cameron had decided to travel to Mexico for a few months.[29] On the day before they planned to leave—June 17, 1952—he received a rush order of explosives for a film set, and began work on the order at his house.[30] In the midst of this project, an explosion destroyed the building, fatally wounding Parsons. He was rushed to hospital, but was declared dead.[31] Cameron did not want to see his body and retreated to San Miguel, asking her friend George Frey to oversee the cremation.[32]

The Children, Kenneth Anger, and Curtis Harrington: 1952–1968

While in Mexico, Cameron began performing blood rituals in the hope of communicating with Parsons' spirit; during these, she cut her own wrists. As part of these rituals, she claimed to have received a new magical identity, Hilarion.[34] When she heard that an unidentified flying object had allegedly been seen over Washington D.C.'s Capitol Building, she considered it a response to Parsons' death.[34] After two months, she returned to California and attempted suicide.[35] Increasingly interested in occultism, she read through her husband's papers. Embracing his Thelemic beliefs, she came to understand his purpose in carrying out the Babalon Working and also came to believe that the spirit of Babalon had been incarnated into herself.[36] She came to believe that Parsons had been murdered by the police or anti-Zionists, and continued her attempts at astral projection to commune with his spirit.[37]

Her mental stability was deteriorating, and she became convinced that a nuclear test on

Eniwetok Atoll would result in the destruction of the California coast.[38] There is inconclusive evidence that she was institutionalized in a psychiatric ward during this period, before having a brief affair with African-American jazz player Leroy Booth, a relationship that would have been illegal at the time.[39] At some point in this period, she stayed with the Thelemite Wilfred Talbot Smith and his wife,[40] although he thought that she had "bats in the belfry" and ignored what he described as her "Mad Mental Meanderings".[41]

In December 1952, Cameron moved to a derelict ranch in

magic mushrooms, and in June 1953 she visited Los Angeles to attend a Gerald Heard lecture on the mind-expanding uses of hallucinogens.[46] Cameron was suffering from auditory hallucinations, frequent bouts of depression, and dramatic mood swings.[47] During this period, she corresponded with the Thelemite Jane Wolfe,[48] although other Thelemites and Crowley associates such as Karl Germer and Gerald Yorke deemed her insane.[49]

A painting of a slim white woman with large red hair. The two eyes are blackened. She is wearing a white outfit and in her hands holds a black egg.
Cameron's self-portrait, The Black Egg, was placed at the centre of an altar during Cameron's 1995 memorial service.[50]

After using the Chinese divination text the I Ching, Cameron returned to Los Angeles, moving in with Booth until the duo were arrested for illegal drug possession.[51] Released on bail, she moved into Druks' Malibu home, and through her joined the avant-garde artistic circle surrounding the socialite Samson De Brier.[52] It was through this circle that Cameron met the Thelemite film maker Kenneth Anger, and after a party titled "Come As Your Madness" which was organised by Mathison and Druks, he decided to produce a film featuring Cameron and others in the group. The resulting film was Inauguration of the Pleasure Dome.[53] After seeing the film, the English Thelemite Kenneth Grant wrote to Cameron hoping that she might move to England and join his London-based group, the New Isis Lodge; Cameron never responded.[54]

Through common friends Cameron met Sheridan "Sherry" Kimmel, and the two entered a relationship. A veteran of the Second World War from Florida, Kimmel suffered from

posttraumatic stress disorder, often causing him severe mood swings. He developed an interest in occultism and became intensely jealous of Parsons' continuing influence over Cameron, destroying Parsons' notes on the Babalon Working that she had kept.[55] Cameron again became pregnant, although she was unsure who the father was. She gave birth to a daughter, Crystal Eve Kimmel, on Christmas Eve 1955.[56] She allowed her daughter to behave how she pleased, believing that this was the best way for her to learn.[57] With her friend, the film-maker Curtis Harrington, Cameron then produced a short film, The Wormwood Star, which was filmed at the home of multi-millionaire art collector Edward James; the film features images of Cameron's paintings, and recitations of her poems.[58]

In autumn 1956, Cameron's first exhibition was held, at Walter Hopps's studio in Brentwood; several paintings were destroyed when the gallery caught fire.[59] Around this time, Cameron was introduced to the actor Dean Stockwell at a public recital of her poetry; he then introduced her to his friend and fellow actor Dennis Hopper.[60] She was also an associate of the artist Wallace Berman, who used a photograph of her on the front of the first volume of his art journal, Semina. The volume also included Cameron's drawing, Peyote Vision.[61] This artwork was featured in Berman's 1957 exhibition at Los Angeles' Feris Gallery, which was raided and shut down by the police. Investigating officers claimed that Peyote Vision, which featured two copulating figures, was pornographic and indecent, thus legitimising their actions.[62]

In late 1957, Cameron moved to San Francisco with her friends Norman Rose and David Metzer.[63] There she mingled within the same bohemian social circles as many of the beat generation of artists and writers, and was a regular at avant-garde poetry readings.[64] She began a relationship with the artist Burt Shonberg of Cafe Frankenstein, and with him moved into a ranch outside of Joshua Tree.[65] Together they began exploring the subject of Ufology, and became friends with the ufologist George Van Tassel.[66] After Kimmel was released from a psychiatric ward, Cameron re-established her relationship with him, and in 1959, they were married in a civil ceremony at Santa Monica City Hall; their relationship was strained and they separated soon after.[67]

In 1960, Cameron appeared alongside Hopper in Harrington's first full-length film, Night Tide. The film was a critical success and—despite not receiving a wide distribution—became a cult classic.[68] She was invited to appear in Harrington's next film, Games, although ultimately never did so.[69] After Cameron moved to Venice, Los Angeles,[70] a local arts shop exhibited her work in August 1961.[71] On his return to the U.S. from Europe, Anger moved in with Cameron for a time,[72] before the duo moved into a flat on Silverlake Boulevard in early 1964; Anger remained there before departing for New York City.[73] According to Anger biographer Bill Landis, Cameron had become "a rather formidable maternal figure" in Anger's life.[74] In October 1964, the Cinema Theatre in Los Angeles held an event known as The Transcendental Art of Cameron, which displayed her art and poetry and screened some of her films; Anger arrived and disrupted the event by objecting to the screening of Inauguration of the Pleasure Dome without his permission.[75] He then launched a poster campaign, The Cameron File, against his former friend, labelling her "Typhoid Mary of the Occult World".[76] The pair later reconciled, Cameron visiting Anger in San Francisco, where he introduced her to Anton LaVey, the founder of the Church of Satan. LaVey was delighted to meet her, having been a fan of Night Tide.[77]

Later life: 1969–1995

The grave of Cameron's second husband, Sheridan Kimmel, at Lakeside Memorial in Doral, Florida

In the latter part of the 1960s, Cameron and her daughter moved to the

collapsed lung and required hospitalization.[80] Her health was poor, as she suffered from chronic bronchitis and emphysema (both of which were exacerbated by her chain smoking), while hand tremors prevented her from being able to paint for four years.[81]
Returning to California, by 1969 she was living in the Pioneertown sector of Joshua Tree.
adult movie theatres; she remained there for the rest of her life.[83]

By the mid-1980s, Cameron was focusing to a greater extent on her family life, particularly in looking after her grandchildren, who were known to go

The Mayan Factor and Charles Musès' The Lion Path, and undertook the Neo-shamanic practices endorsed in the latter.[88] She was also influenced by claims made in the writings of archaeologist Marija Gimbutas about a prehistoric matriarchal society devoted to a goddess.[89] Cameron was very interested in A. S. Raleigh's Woman and Superwoman, taped her own reading of it, and sent copies to her friends and local public radio for broadcast.[89] Throughout all of these disparate spiritual interests, she retained faith in the Thelemic ideas of Crowley.[89]

As well as entertaining old friends who came to visit her in her home,[90] Cameron also met with younger occultists, such as the Thelemite William Breeze and the industrial musician Genesis P-Orridge.[91] Cameron aided Breeze in co-editing a collection of Parsons' occult and libertarian writings, which were published as Freedom is a Two-Edged Sword in 1989.[92] Cameron was acquainted with the experimental film-maker Chick Strand and appeared in the latter's 1979 project Loose Ends, during which she narrated the story of an exorcism.[86] In 1989, an exhibition of her work titled The Pearl of Reprisal was held at the Los Angeles Municipal Art Gallery. It included a selection of her paintings and a screening of Inauguration of the Pleasure Dome and The Wormwood Star, while Cameron attended to provide a candle-lit reading of her poetry.[93]

Death

In the mid-1990s, Cameron was diagnosed with a

VA Medical Center on July 24, 1995,[95] and underwent the Thelemic last rites, carried out by a high priestess of Ordo Templi Orientis.[50] Her body was cremated and her ashes were scattered in the Mojave Desert.[50] A memorial event was held at Venice's Beyond Baroque Literary Arts Center in August.[50]

Personality

Cameron preferred to be known by her surname as a mononym.[96] According to historian of Thelema Martin P. Starr, Cameron's "very dominating personality could not brook rivals of any kind".[97] The fashion writer Tim Blanks noted that Cameron was "a charismatic woman" active in the mid-20th century "macho art world", and that it was not surprising how "alluring and dangerous" she must have seemed to Hopper and Stockwell.[98]

Stockwell described Cameron as "a very, very intense personality, but very fascinating".[99] Considering her to be "an out and out witch",[100] Hopper described her as having an "infectious personality" through her presence; she was someone "that you knew [was] different and [she] had a magnetic quality that you wanted to be closer to".[99] The photographer Charles Brittin, who knew Cameron on Los Angeles' artistic circuit, called her "a sweet person with a great personality, not the way some of her friends wanted to picture her to be".[101] Her friend Shirley Berman described her as having "many different crowds of friends, and I think she was a different personality with each crowd ... She wasn't an even personality at all, but she was always a very gracious person."[7]

Artistic style

[Cameron's] art and spiritual life were one. They were indivisible ... But that said, you can be a total sceptic or atheist, or know nothing of her spiritual practice, and still be deeply moved or blown away by her exquisitely rendered, and beautiful envisioned drawings and paintings. It's the work that remains. These sublime treasures that she seems to have captured and brought back from a netherworld for us all to view.

– Biographer Spencer Kansa[102]

The digital media theorist

The Huffington Post, Cameron's artwork merges "Crowley's occult with the surrealism and symbolism of French poets, yielding dark yet whimsical depictions buzzing with otherworldly power".[104] The art curator Philippe Vergne described her work as being on "the edge of surrealism and psychedelia", embodying "an aspect of modernity that deeply doubts and defies cartesian logic at a moment in history when these values have shown their own limitations".[104]

Lunenfeld compared Cameron's black and white pen-and-ink drawings to those of the English artist Aubrey Beardsley, noting that she was capable of a "ferocious, paradoxical line work—simultaneously precise and seductively unrestrained—that functions as both figurative depiction and unabashed emotional talisman".[105] He believed that both "passion and craft" could be seen in her draughtsmanship, but that it also displayed "a guilelessness that is hard to relate to in our post post-ironic moment".[105] He also discussed her lost multi-coloured watercolour paintings that were featured in Harrington's The Wormwood Star, suggesting that they were akin to a storyboard for an unrealised film by the director Alejandro Jodorowsky.[105]

Cameron's biographer Spencer Kansa was of the opinion that Cameron exhibited parallels with the Australian artist and occultist Rosaleen Norton, both in terms of her physical appearance and the similarities between their artistic styles.[106] Harrington also saw similarities in the work of Cameron and the artists Leonora Carrington and Leonor Fini.[107] On the website of the Cameron–Parsons Foundation, Michael Duncan expressed the view that Cameron's work rivals that of "fellow surrealists" like Carrington, Fini, Remedios Varo, and Ithell Colquhoun, while also appearing "fascinatingly prescient" of the works by later artists Kiki Smith, Amy Cutler, Karen Kilimmck, and Hernan Bas.[108] In later years, Cameron would often be erroneously labelled a Beat artist because she inhabited many of the same social circles as prominent Beat poets and writers.[109] Rejecting this label, Kansa instead described Cameron as "a pre-Beat bohemian, whose heart lay in Romanticism".[109]

Legacy

Cameron's reputation as an artist grew after her death.

Pamela Skaist-Levy and Gela Nash-Taylor acknowledging Cameron as a partial inspiration for their Skaist-Taylor label.[98]

As seen in The Wormwood Star, Cameron burned a lot of her work and much of the remainder is owned by the Foundation. One of the few that is privately owned is called Blue Prophet which, when viewed in person, evidences "extraordinary power" [117]

Cameron's life was brought to wider attention through the publication of two biographies about Parsons: John Carter's Sex and Rockets and George Pendle's Strange Angel.[118] A dramatization of Parsons' life was depicted in the play Moonchild, performed at The Access Theatre in 2004. Cameron was portrayed by Heather Tom.[119] In 2011, Wormwood Star, a biography of Cameron authored by the Briton Spencer Kansa, was published,[120] though it was not authorized by the Cameron–Parsons Foundation.[121] Kansa had spent almost three years in the U.S. researching the book, interviewing many of those who knew Cameron, including several who died shortly after.[122] Kansa stated that most of those whom he interviewed "were immensely generous with their time and recollections" but that "one of Cameron's kookier friends" had begun making claims that Kansa was not a biographer but was really an agent of the Federal Bureau of Investigation.[122] Writing in the Los Angeles Review of Books, Steffie Nelson noted that Kansa did "his due diligence tracking down Cameron's childhood acquaintances and friends" but at the same time was critical of the lack of sources or footnotes.[121]

References

Citations

  1. ^ Carter 2004, p. 220.
  2. ^ Carter 2004, p. 131; Duncan 2008; Kaczynski 2010, p. 538; Kansa 2011, p. 9; Laden 2014.
  3. ^ Carter 2004, p. 131; Kaczynski 2010, p. 538; Kansa 2011, pp. 9–11.
  4. ^ Kansa 2011, pp. 11–12.
  5. ^ Kansa 2011, pp. 12, 15.
  6. ^ Kansa 2011, pp. 13–14.
  7. ^ a b c Laden 2014.
  8. ^ Kansa 2011, p. 17.
  9. ^ a b Kansa 2011, p. 18.
  10. ^ Carter 2004, p. 131; Kaczynski 2010, p. 538; Kansa 2011, pp. 18–22; Nelson 2014; Laden 2014.
  11. ^ Kansa 2011, pp. 22–23.
  12. ^ Duncan 2008; Kaczynski 2010, p. 538; Kansa 2011, p. 24.
  13. ^ Carter 2004, p. 131; Duncan 2008; Kaczynski 2010, p. 538; Kansa 2011, p. 27; Nelson 2014; Laden 2014.
  14. ^ Carter 2004, p. 130; Kansa 2011, pp. 28–29; Nelson 2014; Laden 2014.
  15. ^ Carter 2004, p. 130; Pendle 2005, pp. 259–260; Kansa 2011, pp. 35–37; Nelson 2014; Laden 2014.
  16. ^ Pendle 2005, pp. 263–264; Kansa 2011, p. 29; Laden 2014.
  17. ^ Carter 2004, p. 151; Kansa 2011, pp. 37–38.
  18. ^ Pendle 2005, pp. 267–269; Kansa 2011, pp. 38–39.
  19. ^ Kansa 2011, p. 39.
  20. ^ Starr 2003, p. 320; Carter 2004, p. 158; Pendle 2005, pp. 275, 277; Kansa 2011, p. 39; Laden 2014.
  21. ^ Carter 2004, p. 130; Duncan 2008; Kansa 2011, pp. 39–41.
  22. ^ Kansa 2011, pp. 43–45.
  23. ^ a b Kansa 2011, pp. 48–49.
  24. ^ Kansa 2011, p. 48.
  25. ^ Pendle 2005, p. 288; Duncan 2008; Kansa 2011, pp. 51–53; Nelson 2014; Laden 2014.
  26. ^ Pendle 2005, pp. 294, 297; Kansa 2011, p. 57.
  27. ^ Pendle 2005, pp. 294–295; Kansa 2011, pp. 57–63.
  28. ^ Kansa 2011, p. 61.
  29. ^ Pendle 2005, pp. 296–297; Kansa 2011, p. 64.
  30. ^ Pendle 2005, p. 299; Kansa 2011, p. 65.
  31. ^ Carter 2004, pp. 177–179; Pendle 2005, pp. 1–6; Duncan 2008; Kansa 2011, pp. 65–66; Laden 2014.
  32. ^ Kansa 2011, pp. 67–68.
  33. ^ Kansa 2011, p. 94.
  34. ^ a b Kansa 2011, p. 74.
  35. ^ Kansa 2011, pp. 74–75.
  36. ^ Kansa 2011, pp. 75–77.
  37. ^ Kansa 2011, pp. 77–79.
  38. ^ Kansa 2011, p. 79.
  39. ^ Kansa 2011, pp. 80–81.
  40. ^ Starr 2003, p. 328; Carter 2004, p. 184.
  41. ^ Starr 2003, p. 328.
  42. ^ Kansa 2011, p. 82; Nelson 2014; Laden 2014.
  43. ^ Kansa 2011, pp. 85–86.
  44. ^ Kansa 2011, pp. 67, 97.
  45. ^ Kansa 2011, pp. 90, 92.
  46. ^ Kansa 2011, pp. 88–89.
  47. ^ Kansa 2011, pp. 90–92.
  48. ^ Carter 2004, p. 188; Kansa 2011, pp. 82–84; Nelson 2014.
  49. ^ Kansa 2011, pp. 92, 94.
  50. ^ a b c d Kansa 2011, p. 253.
  51. ^ Kansa 2011, pp. 97–98.
  52. ^ Kansa 2011, p. 100.
  53. ^ Landis 1995, pp. 74–76; Carter 2004, p. 190; Duncan 2008; Kansa 2011, pp. 104–106; Laden 2014.
  54. ^ Kansa 2011, pp. 114–115.
  55. ^ Carter 2004, p. 190; Kansa 2011, pp. 118–121; Nelson 2014.
  56. ^ Carter 2004, p. 190; Duncan 2008; Kansa 2011, pp. 126, 130; Nelson 2014; Laden 2014.
  57. ^ Kansa 2011, p. 47; Laden 2014.
  58. ^ Carter 2004, p. 191; Duncan 2008; Kansa 2011, pp. 135–139; Nelson 2014; Laden 2014.
  59. ^ Kansa 2011, p. 131.
  60. ^ Kansa 2011, pp. 140–141.
  61. ^ Kansa 2011, pp. 121–122.
  62. ^ Kansa 2011, p. 141; Fredman 2010, p. 1.
  63. ^ Kansa 2011, p. 144; Nelson 2014.
  64. ^ Kansa 2011, pp. 143, 150.
  65. ^ Kansa 2011, pp. 152–154, 157; Nelson 2014.
  66. ^ Kansa 2011, pp. 157–158.
  67. ^ Kansa 2011, pp. 173–174; Laden 2014.
  68. ^ Carter 2004, p. 191; Kansa 2011, pp. 174–171; Nelson 2014; Laden 2014.
  69. ^ Kansa 2011, p. 207.
  70. ^ Kansa 2011, p. 174.
  71. ^ Kansa 2011, p. 177.
  72. ^ Landis 1995, pp. 100–101; Kansa 2011, pp. 183–187.
  73. ^ Kansa 2011, p. 190.
  74. ^ Landis 1995, p. 81.
  75. ^ Kansa 2011, pp. 191–192.
  76. ^ Kansa 2011, pp. 193–194.
  77. ^ Kansa 2011, p. 214.
  78. ^ Duncan 2008; Kansa 2011, p. 215; Laden 2014.
  79. ^ Duncan 2008; Kansa 2011, pp. 217–218; Laden 2014.
  80. ^ Kansa 2011, pp. 226–227.
  81. ^ Kansa 2011, p. 227.
  82. ^ Kansa 2011, pp. 223–224; Nelson 2014.
  83. ^ Kansa 2011, p. 227; Nelson 2014.
  84. ^ Kansa 2011, p. 238; Laden 2014.
  85. ^ Kansa 2011, p. 244.
  86. ^ a b Kansa 2011, pp. 233–234.
  87. ^ Kansa 2011, p. 236; Laden 2014.
  88. ^ Kansa 2011, p. 241.
  89. ^ a b c Kansa 2011, p. 247.
  90. ^ Kansa 2011, p. 242.
  91. ^ Kansa 2011, p. 239.
  92. ^ Duncan 2008; Kansa 2011, p. 249; Nelson 2014.
  93. ^ Carter 2004, p. 195; Duncan 2008; Kansa 2011, p. 249; Laden 2014.
  94. ^ Kansa 2011, pp. 250, 253.
  95. ^ Carter 2004, p. 195; Duncan 2008; Kansa 2011, p. 252; Laden 2014.
  96. ^ a b Lunenfeld 2015, p. 91.
  97. ^ Starr 2003, p. 320.
  98. ^ a b c Blanks 2013, p. 246.
  99. ^ a b Kansa 2011, p. 141.
  100. ^ Landis 1995, p. 72.
  101. ^ Kansa 2011, p. 178.
  102. ^ Stevens 2011, p. 25.
  103. ^ Laden 2014; Martinez 2015.
  104. ^ a b Frank 2014.
  105. ^ a b c Lunenfeld 2015, p. 92.
  106. ^ Kansa 2011, p. 137.
  107. ^ Kansa 2011, pp. 136, 137.
  108. ^ Duncan 2008.
  109. ^ a b Kansa 2011, p. 143.
  110. ^ Kansa 2011, p. 255; Laden 2014.
  111. ^ Carter 2004, p. 195; Duncan 2008; Kansa 2011, p. 255.
  112. ^ Kansa 2011, p. 256.
  113. ^ Duncan 2008; Kansa 2011, pp. 257–258; Laden 2014.
  114. ^ Nelson 2014; Laden 2014.
  115. ^ Frank 2014; Laden 2014.
  116. ^ Yaeger 2015; Chidester 2015; Martinez 2015.
  117. ^ Kenneth Anger unveils some of Cameron's work
  118. ^ Kansa 2011, p. 255.
  119. ^ Kansa 2011, p. 257.
  120. ^ Stevens 2011, p. 24; Blanks 2013, p. 246.
  121. ^ a b Nelson 2014.
  122. ^ a b Stevens 2011, p. 24.

Sources

External links