
- 240 pages
- English
- ePUB (mobile friendly)
- Available on iOS & Android
About this book
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.
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Information
Table of contents
- Cover
- Half-title page
- Title page
- Copyright page
- Table of contents
- List of figures
- List of plates
- Acknowledgements
- Introduction
- 1: The changing face of British arts, politics and culture during Vaucher's art school years
- 2: Radical art collectives and the free festivals movement
- 3: New York, political photomontage and the underground press
- 4: Towards the definition of a punk aesthetic
- 5: Crass art and the birth of anarcho-punk
- 6: Post-punk, hardcore and the dissolution of the dream
- 7: Post Crass introspection: postmodernism and the anti-rationalist avant-garde
- 8: Beyond the art world: political agitation and public intervention in the new millennium
- Select bibliography
- Index
- Plates