Rebecca Binns' new book on the influential punk artist Gee Vaucher goes beyond her association with Crass to examine the political and ethic
‘Gee Vaucher: Beyond punk, feminism and the avant-garde‘ by Rebecca Binns is released via Manchester University Press on 15th November
Rebecca Binns’ new book on the influential punk artist Gee Vaucher goes beyond her association with Crass to examine the political and ethical framework that she used to create her intricate and confronting pieces
Punk was a visual as well as audio artform with the aesthetic and associated art being a large part of its revolutionary impact and rebellious appeal.
A lot has been said about the fashion; the posters and flyers; the Jamie-Reid designs; the Vivienne Westwood clothes etc. But a key part of this visual history is the work of an artist who defined punk’s protest art in the 1970s and 80s- Gee Vaucher.
Perhaps her biggest claim to punk fame is the work she did with the influential anarchist band Crass, Vaucher being behind their distinctive and confrontational album covers. She has remained a visual political commentator with her works still being seen in exhibitions and on front pages, taking on contemporary social justice issues.
Binns does a thorough and exemplary job of exploring three major facets that contribute to an understanding of Vaucher’s work.
Gee Vaucher, Bee Gees Record Review, Rolling Stone, 1977, watercolour, gouache and collage,
There’s a spotlight on the artist herself- her background and formative experiences and how her political and social attitudes were shaped. Then there’s the actual art that she created, with the book giving a thorough dissection of so many of her fascinating pieces.
But Binns also adds the context in which Vaucher was working throughout the years and the ideas that were dominant at different times. The post-war nuclear family; the punk movement challenging old ideas on youth culture; the rising poverty in the 80s and Thatcherite politics; the bubbling anti-war movement both in the UK and America- all these were incorporated into paintings and collages.
This gives the book a very well rounded feel by chronicling all these influences on a creative life and how they intersect and evolve.
Vaucher’s politics is explored using her own words to add context and personal nuance. From her views on gender and sexuality, to her pacifism and anti-military stance, as Vaucher herself states: “I am an extremely moral person to the point of being ridiculous. But my morals are my own”. This aspect of Vaucher is essential to being able to fully appreciate the motivation and message of her art and perhaps why she worked so well with a band like Crass.
Gee Vaucher, Untitled Collage, International Anthem 2: Domestic Violence, 1979,
Of course she is most well known for her work as part of the punk movement, and more specifically with anarcho-punk band Crass. Binns takes her time in exploring the punk context from a social history standpoint as well as setting out the values and ethics of a complex band like Crass. This helps contextualise Vaucher’s work and sets her amongst- yet distinct from- other punk visual stylists such as Jamie Reid (who worked with the Sex Pistols); Linder Sterling (who worked with The Buzzcocks) and Stiff Records Senior Designer Barney Bubbles.
It was in 1979 that Vaucher settled in punk communal living spot Dial House- a collective of like minded artists, musicians and socially conscious individuals living together in a rural Essex home. It was here she lived and worked as part of Crass- being part of their democratic structure and embodying their anti-branding artistic vision. Vaucher produced the distinctive front covers for ‘The Feeding of the 5000′, ‘Stations of the Crass‘, ‘Penis Envy’ and ‘Yes Sir I Will’ and as well as her paintings for covers and inlays, she also produced short films as part of the work she did to support Crass releases.
Her own journal International Anthem ran from 1977 to 1984 and subverted ideas of aspiration and traditional gender roles, using images from popular magazines such as Good Housekeeping and Woman’s Own and highlighting that most aspiration was in fact synonymous with capitalism and consumerism. Marketing strategies disguised as values.
She encompassed the DIY ethic and held steadfast to her own values, whether she was working in the UK or during her stint in New York working with publications such as Rolling Stone, Ebony, Crawdaddy and High Times.
Gee Vaucher, Children Who Have Seen Too Much Too Soon, 2006-16,
Penny Rimbaud (real name: Jeremy John Ratter) was born on June 8, 1943. He turned 83.
He is the co-founder of the legendary anarcho-punk band Crass, an English poet, writer, painter, and activist.
He remains active to this day with performances, spoken word, and artistic projects.
He legally changed his name to Penny Lapsang Rimbaud in 1977 by "deed poll" (formal declaration).
Rimbaud comes from the French poet Arthur Rimbaud.
Penny because his brother called him "the toilet philosopher" (toilet philosopher) at the time it cost a penny to enter public restrooms.
Lapsang is his favorite tea (Lapsang Souchong).
He said he changed his name because he "wanted to be his own son."
At age 14 he discovered Zen Buddhism and completely rejected his family's religion (Anglican).
In 1964 he won a Beatles art competition and received the award from John Lennon on TV (Ready Steady Go!).
He worked as an art teacher but quit; later he was a coalman.
In 1967, with artist Gee Vaucher (his long-time partner), he founded Dial House — an open house, commune/pacifist/anarchist in Essex that still exists today and was the birthplace of Crass.
He co-founded the Stonehenge Free Festival in 1972 with his friend Phil Russell (Wally Hope).
The death of Wally Hope
Penny firmly believes that her friend was murdered by the state.
Wally was a charismatic and “crazy” figure who helped create the Stonehenge festival.
He was involuntarily committed, drugged with psychiatric medication, and died in 1975 (officially overdose/suicide).
Penny investigated for years, wrote the book *The Last of the Hippies*, and claims to have conclusive evidence of murder. He even received threats during the investigation.
He lived (and still lives) a radically alternative life: extreme pacifism, anti-war, vegetarianism since the 1960s, total rejection of the system.
Crass was much more than a punk band: it was a multimedia project of art, political propaganda, and activism. They used military disguises, shocking art, and harsh lyrics against the Thatcher government, the Falklands War, Christianity, etc.
He has a deep relationship with death and grief (influenced by the image of the Holocaust he saw as a child) and with non-religious spirituality.
Eve Libertine (born Bronwyn Lloyd Jones)
She was one of the band's lead vocalists (along with Steve Ignorant and Joy De Vivre). Penny Rimbaud was the drummer, main lyricist, and co-founder. Several recent albums and shows (Eve performing Penny's lyrics, such as in I Am That Tempest).
They are not a couple. Eve Libertine is the singer who stood out especially with the album Penis Envy (1981), with strong feminist themes.
She has a very powerful voice and continues to make experimental music and spoken word.
Penny Rimbaud's longtime partner (since the 1960s) is the artist Gee Vaucher, with whom he founded Dial House.
They continue to work together to this day.
Gee Vaucher also known as Carole Vaucher (1945) visual artist, cover designer, longtime partner (since 1967)
After the dissolution of Crass in 1984, Libertine worked with her guitarist son Nemo Jones.
She also trained as a classical singer, and has performed as part of Crass Agenda (renamed Last Amendment as of 2005) along with Penny Rimbaud, Matt Black (of Coldcut), Christine Tobin, Julian Siegel, Ingrid Laubrock, Nabil Shaban, Kate Shortt and others.
On 19 November 2011 she made a guest appearance at fellow Crass band mate Steve Ignorant's "The Last Supper" where they were also joined on stage by Penny Rimbaud. This is the last time Crass songs were sung live.
