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As one of the people who defined punk’s protest art in the 1970s and 1980s, Gee Vaucher (b. 1945) deserves to be much better-known. She produced confrontational album covers for the legendary anarchist band Crass and later went on to do the same for Northern indie legends the Charlatans, among others. More recently, her work was recognised the day after Donald Trump's 2016 election victory, when the front page of the Daily Mirror ran her 1989 painting Oh America, which shows the Statue of Liberty, head in hands. This is the first book to critically assess an extensive range of Vaucher’s work. It examines her unique position connecting avant-garde art movements, counterculture, punk and even contemporary street art. While Vaucher rejects all ‘isms’, her work offers a unique take on the history of feminist art.
Gee Vaucher is an internationally renowned political artist, known for her 'radical creativity', montages, and iconic record sleeve artwork for the famous anarchist-pacifist band Crass. Vaucher has always seen her work as a tool for social change, using surrealist styles and methods, and a DIY aesthetic to create powerful images exploring political and personal issues. This catalogue will be the first in-depth publication examining the vast range of her work including painting, collage, video, performance art, design, and installation works.
In-depth interviews with the main movers in the punk rock movement--Crass members Penny Rimbaud, Gee Vaucher, and Steve Ignorant--detail the face of the revolution founded by these radical thinkers and artists. When punk ruled the waves, Crass waived the rules by putting out their own records, films, and magazines and setting up a series of situationist pranks that were dutifully covered by the world's press. Not just another iconoclastic band, Crass was a musical, social, and political phenomenon: commune dwellers that were rarely photographed and remained contemptuous of conventional pop stardom. As detailed in this history, their members explored and finally exhausted the possibilities of punk-led anarchy. This definitive biography of the band not only gives backstage access to their lives, philosophies, and the movement that followed, but also to never-before-seen photographs and rare dialogues.
Illustrated narrative of the evolution, realization, and legacy of the punk aesthetic - from the marginal cultural catalysts behind the movement through the musicians and artists who fourished in its prime to the traces still visible in popular culture today
Looks at the history of the depiction of anti-authoritarian social movements in art.
"It’s legitimate SF, and it’s ‘mainstream,’ and it’s metafiction: I don’t know anyone else doing quite what Lain is doing; fascinating work, moving, strikingly honest, powerful.”—Rich Horton, Locus Magazine Gore Vidal meets Philip K. Dick in this collection of “lit-fabulist” stories. Douglas Lain’s work has been attracting high profile attention throughout the genre, and this collection features some of his finest and most controversial fiction. These stories present electric messiahs, identity constructs, the Beatles, and even nuclear Armageddon as comic foils for Lain’s everyman characters. Here is an America where the packets of Sea Monkeys that arrive in the mail contain secret messages and the girl next door can breathe underwater. With Last Week’s Apocalypse, Douglas Lain arrives with a punch line and a warning.
One of the powers of art is its ability to convey the human aspects of political events. In this fascinating survey on art, artists, and anarchism, Allan Antliff interrogates critical moments when anarchist artists have confronted pivotal events over the past 140 years. The survey begins with Gustave Courbet’s activism during the 1871 Paris Commune (which established the French republic) and ends with anarchist art during the fall of the Soviet empire. Other subjects include the French neoimpressionists, the Dada movement in New York, anarchist art during the Russian Revolution, political art of the 1960s, and gay art and politics post-World War II. Throughout, Antliff vividly explores art’s potential as a vehicle for social change and how it can also shape the course of political events, both historic and present-day; it is a book for the politically engaged and art aficionados alike. Allan Antliff is the author of Anarchist Modernism.
This lavishly illustrated book is an intimate look at the interiors, lifestyles, and houses belonging to a wide range of artists and creatives. In this beautifully illustrated book, writer and photographer Tom Harford-Thompson presents individual, eccentric homes and workspaces, from a music producer’s studio to an ecowarrior’s treehouse. His evocative photographs show how our life/work spaces, whether a tumbledown cottage, a country farmhouse, or a reclaimed factory, are beautiful because of the lives we live in them. With work no longer separate from home life, we see how these artists function the spaces that inspire them, pursuing the life creative. Among the artists and craftspeople featured are internationally recognized names like Billy Childish, cofounder of the Stuckist art movement; Penny Rimbaud and Gee Vaucher, creative partners who set up their home and studio as an ‘anarchist-pacifist open house’; and music producer Liam Watson of the famed London studio Toe Rag. Harford-Thompson, whose work has been featured in the Guardian and Art Review, showcasing craft and design with a homespun edge. For people who want to move beyond glossy, styled homes and wish to revamp their personal spaces to make them truly individual, Artists’ Homes is an essential resource.