Abstract
In 1957, Johnathan Williams took a photograph of Mina Loy staring straight into the camera, chin lifted, wearing a dusky blue tunic to contrast against the earthy wall behind her (fig. 1). She looks every inch the artist, trimmed in pink beads and a high collar. The gaze of the poet is strikingly emphasized, as Loy looks down the lens in a potential position of power. However,
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