May 8
seen from Canada
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Mission: See Red 1, part 1
Loki: I understand you require the assistance of the greatest sorcerer this or any other world has ever seen... Elektra: I understand you're a prodigious liar, and notoriously difficult to work with. Loki: To be fair, my working relationships would function much more smoothly if my classmates weren't all inept and annoying. Elektra: I also prefer to work alone, but right now I need a sorcerer's help to counter the Hand's resurrection magic. Loki: Gather ingredients for a potion while I research their sorcery. And appreciate how incredibly lucky you are to have Loki...
aaah....felt good to breathe again
Let’s Talk: See Red Women’s Workshop
“See Red Women’s Workshop was a collective screen printing studio which operated between 1974 and 1990 in London, England. The printing studio was ran by a feminist collective and produced material that aimed to combat sexist images of women and contribute towards the visual culture of the Women's Liberation Movement.” (x)
This group was founded by Prue Stevenson, Julia Franco, and Suzy Mackie who were all all art-school trained and did a mixture of painting, fine art, graphics, and film.
(Members of See Red working in the Iliffe Yard studio in 1982)
They printed posters, calendars, and t-shirts which funded the workshop along with donations. They focused on a number of women’s issues including: reproductive rights, women's refuges, women's liberation, racism, violence against women, black women's rights, support for incarcerated women, and lesbian rights.
Some of their various workshop locations, as they moved several times over the years, were attacked by the National Front (a far-right, fascist political party in the UK). Still, they persisted. Stevenson said that, “[the National Front] trashed our workshop: They poured ink all over, urinated all over, and generally made an awful mess. They wrote “NF” on the walls, and when the police came, we pointed the initials to the police, saying, “This is obviously who’s done it, the National Front.” And the police said, “Oh, no, no, no. It could be a man’s initials, like Nicholas French or something like that.” To a certain extent, some of the police were sympathizers with the National Front themselves.”
The practiced intersectionality, with Pru Stevenson saying in an interview with Collector’s Weekly, “When See Red first started, we were three white middle-class women and very conscious of the fact that our life experience was limited. It was very important for us to go out and get other women who had a wide range of experience to come and join us. Forty-five women came through the workshop, in fact. We’d also go out to organizations and say, “This is an issue which we think is important. What are your views on it?” They also, when they were given grants, turned them into wages for the working women and the women of color who were part of the collective.
As Vogue puts it, “[they] became more racially and ethnically diverse as the years went on, taking in political refugees from Chile, and addressing specific issues such as police brutality against black women, or the mistreatment of female prisoners in Ireland.”
The variety of women who moved through the workshop (around 45 or so over the years) can be an explaination for the wide range of styles seen in posters from See Red (examples below)
(More of their posters here)
Eventually, this group was recieving commissions from all over the world.
The original founders had left by 1984 and passed on the workshop to the younger, newer members. After their departure, See Red stopped producing new poster designs for the most part. The workshop officially shut down for good in 1990.
As their website puts it, “[Surviving core members] have in recent years been involved in various activities about the history of See Red, including putting this site together, various talks and exhibitions and the book about the workshop published by Four Corners.”
Finally, a picture of some of the remaining women at the book’s launch in 2016: