Rebecca Binns
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Over the last decade, Gee Vaucher has been increasingly recognised in academia, the art world and the media. Despite her raised profile, she remains an elusive figure, who prides herself on her political and creative autonomy. She retains some reticence to her work being held in public collections, while refusing outright to sell it for private collectors and institutions – something which makes it hard to value in art market terms. Steeped in the counterculture of the 1970s, punk politics specific to Crass in the 1980s and the anti-establishment ethos of street and protest art popularised by Banksy in the 2000s, her critique of power imbalance at a personal, familial, societal and political level is evident throughout her oeuvre, while her much-vaunted autonomy is something that continues to guide her approach. The introduction to this first-ever monograph on this singular artist provides an overview of Vaucher’s work with performance art collectives and her involvement in the free festivals movement; her time working as a successful freelance illustrator for mainstream magazines in New York, immersed in the punk-Bohemian world of the lower east side (1977–79); the intense six-year period when she defined the Crass’ aesthetic, and exerted influence on the direction of punk and music graphics; her more introspective period in the 1990s, when her work took on a vast array of mediums; and her reconnection with more collaborative and political art practices in the 2000s. The author’s personal connection to the subject matter is also discussed.

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Gee Vaucher

Beyond punk, feminism and the avant-garde


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