“Created from 1978-1982 by Gee Vaucher, International Anthem came into existence as a vehicle for Vaucher’s own work and that of friends who she felt had something worthwhile to share. Amongst others, these included Penny Rimbaud, Eve Libertine and Steve Ignorant… Overall, they represent, and are the realisation of, a dream that Vaucher had carried throughout her early years as a political artist.”

 

“Her collage work is important because it sets her in a tradition of artists that have used collage to question the status quo. The intricacy and skill of her early New York and Crass work is mind-blowing and her mixed media sculptures that combine baby dolls heads with ornamental animal bodies or collaged photographs are fantastic examples of her DIY aesthetic. But it is her pastel work, grouped together in the final room of the exhibition which is the most significant for me, representing one of the main reasons for mounting the exhibition– to discover the lesser known work of such an iconic personality. This series represents Gee’s personal journey post-Crass as an artist, as a woman and as a daughter. There is a noticeable freeing up of her style and an interesting examination of the politics of identity, body, and self.”

 

 

Gee Vaucher, International Anthem Number #1, 1977, 35cm x 27cm

 

 

Gee Vaucher, International Anthem Number #2, 1979, 34cm x 27cm

 

 

Gee Vaucher, International Anthem Number #3, 1980, 37cm x 30 cm

 

 

 

 

Gee Vaucher Introspective – Curator Q & A

Exitstencil Press publishes International Anthem collection