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.
by others within punk’s wider culture. Anarcho-feminism Ideas from the Women’s Movement viewed through an anarchic prism also permeated the anarcho-punk subculture of the early 1980s. Punk fanzines in the late 1970s had attempted to grapple with issues of misogyny, racism and inequality in a manner unseen in their 1960s predecessors, such as OZ and International Times. Despite sometimes displaying inherent sexism, early punk fanzines provided space for debates on female emancipation and the subversion of traditional gender roles. Overall, the force of women within
Rock n Roll Impotence Extravaganza (1985), p. 10, on the theme of prostitution and an interview with the band Lost Cherries in Wake Up, No. 4, Dave (1984), p. 5, on the meaning of their stance against sexism and organised religion. 70 See L. Robinson, ‘Anarcho-Feminism and Greenham Common: Always More than Either, Or’, in G. Bull and M. Dines (eds), And All Around Was Darkness (Portsmouth: Itchy Monkey Press, 2016), pp. 47–57.
directed at how the state's institutions were inherently male and oppressed women specifically, a sentiment echoed in Anarcho-feminism, which construed institutional power (the military, the church and legal family) as inherently masculine. At Goldman's trial in July 1917 for conspiring to impede the draft, she said, ‘It is organised violence at the top which creates individual violence at the bottom.’ 23 On the suppression of women to facilitate state violence she argued
. Kinna (eds) Anarchism and utopianism ( Manchester : Manchester University Press , 2009 ), 179 . 20 Marsha Hewitt , ‘ Emma Goldman: The case for anarcho-feminism ’, in D. Roussopoulos (ed.) The anarchist papers ( Montreal : Black