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.
impression of Russell, noting, ‘Pen I think found Wally very inspirational and I knew why, but I found Phil sexist. That was not unusual for the times, but I had a slight problem with that. Even so, he was a good guy, even if he hadn't come to terms with a certain area of understanding, i.e. women. But his heart was in the right place.’ 67 Russell's vision would prove inspirational to the scene that grew out of the first Stonehenge Festival, evolving from its hippie roots to
liberties campaigns, depicted the events in their song ‘Battle of the beanfield’ (1991) through the eyes of a hitchhiker travelling to Stonehenge to discover the wider issues at stake: ‘Down the 303 at the end of the road / flashing lights – exclusion zones / And it made me think it's not just the stones they're guarding’ . Figure 3.3 Stonehenge festival. The cultural clashes around mobility and land