Best known for her work with punk provocateurs Crass, Gee Vaucher (b. 1945) is widely acknowledged for the idiosyncratic and powerful images that have played a decisive role in shaping alternative culture over the last fifty years. This is the first book to critically assess an extensive range of her work, situating it in a lineage from early twentieth-century avant-garde art movements through the counterculture and punk and on to contemporary street art. It provides a fascinating insight into social and cultural history from a vital but hitherto marginalised perspective. While Vaucher rejects all ‘isms’, her work offers a unique perspective within the history of feminist art. The book explores how her experience has shaped this perspective, with particular focus on the anarchistic, open house collective at Dial House.
with the contemporaneous street art scene. While the scene had its roots in the 1970s and 1980s, it made a profound incursion into the public discursive space and art world during the 2000s; its preoccupations with the increasing encroachment of corporations and State surveillance of public and personal realms having particular resonance to the times. Vaucher has been a friend and creative collaborator of Banksy's since he got in touch with her by phone in the 2000s, when he was already renowned as a graffiti artist in the UK
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.
the sea, murder and cannibalism before a passing government ship rescued the ten survivors. The painting offers the perspective of the rafters, focusing on their plight. 8 In 2015, the British graffiti artist Banksy reproduced a version of Géricault's painting close to the Calais immigration office (on the occasion of the third dismantling of the refugee camp commonly known as The Jungle). In this rendition of the iconic painting, it is the refugees (instead of European nationals) who are stranded in a raft and who make desperate attempts to call the attention of a
expressionistic gestures undermine the status of the originals as definitive statements on high art. In this respect, her approach evokes that of the Situationist Asper Jorn (1914–73), who used loose, often childlike paint strokes in his modifications to original artworks. 13 This is also a distinguishing feature in the work of the artist, Banksy. His Paint Pot Angel (2009) bears an uncanny resemblance to Vaucher's approach here. Despite working in new mediums, collage continued to be an overriding feature
Newspapers, magazines and pamphlets have always been central, almost sacred, forms of communication within Irish republican political culture. While social media is becoming the primary ideological battleground in many democracies, Irish republicanism steadfastly expresses itself in the traditional forms of activist journalism.
Shinners, Dissos and Dissenters is a long-term analysis of the development of Irish republican activist media since 1998 and the tumultuous years following the end of the Troubles. It is the first in-depth analysis of the newspapers, magazines and online spaces in which the differing strands of Irish republicanism developed and were articulated during a period where schism and dissent defined a return to violence.
Based on an analysis of Irish republican media outlets as well as interviews with the key activists that produced them, this book provides a compelling long-term snapshot of a political ideology in transition. It reveals how Irish Republicanism was moulded by the twin forces of the Northern Ireland Peace Process and the violent internal ideological schism that threatened a return to the ‘bad old days’ of the Troubles.
This book is vital for those studying Irish politics and those interestedin activism as it provides new insights into the role that modern activist media forms have played in the ideological development of a 200-year-old political tradition.
like and what obstacles, real and otherwise, might have to be overcome. Banksy's stencil of ‘Girl with Balloon’ floating over the Apartheid Wall in Palestine offers a similar desire for a different future. Trump insists, albeit from a different vantage point, that ‘There's nothing more important than borders’ (Schmitz 2019 ). The contemporary art movement originated in the 1980s as a socio-politically motivated form of protest and art that responded to the violence perpetuated in the name of race, class and nation. For Gloria Anzaldua, ‘The U
, Banksy’s ‘Dismaland’ (2015) in Weston-Super-Mare, with its broken carousel, dead Cinderella, crashed carriage and recurrent references to death and torture (possibly copied from ‘Fun Land’ in the Father Ted TV episode: ‘Good Luck, Father Ted’ (1995)), bridges the gap between fear environment and art installation. 9.4 Gothic installations It could
often used to signify populations regarded as somehow undesirable or harmful. 61 Richard Wentworth's deep blue enamel signs around the town do not seem to attract much attention these days, and at least one of the plaques seems to have been removed. I recall that the buddleja sign was on the junction of Dover Road and Shellons Street, just round the corner from the Banksy Art Buff mural that created so much furore as an unofficial part of the Triennial in 2014. The Banksy is no
History came out – because we’d go to London, hanging out at Wall of Sound in their little offshoot office with Joe the A&R man, and Joe at that time was sharing an industrial unit. We’ve got a desk. And he shared it with Banksy!! Banksy is there with all his fucking stencils. Which is like my biggest claim to fame: I know who Banksy is! If only I bought