Gee Vaucher: Beyond punk, feminism and the avant garde
Beschrijving
Bol
This book situates and critically assesses the substantial body of work created by Gee Vaucher within a lineage of twentieth- and twenty-first-century art history, including radical art production of the 1970s, political protest and street art and punk design, as well as cultural, socio-economic, political and historic contexts. 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.
Beschrijving
(2)
This book situates and critically assesses the substantial body of work created by Gee Vaucher within a lineage of twentieth- and twenty-first-century art history, including radical art production of the 1970s, political protest and street art and punk design, as well as cultural, socio-economic, political and historic contexts. 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.
AmazonPagina's: 248, Paperback, Manchester University Press
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