CRⒶSS OVER
Gee Vaucher: Crass & Beyond

September 12–October 26, 2024
An angled view of two white walls in a gallery. At the far left edge of the left wall is a long, bright red curtain. The walls are lined with a row of small, densely painted and collaged artworks in black frames, and above the framed works posters are pasted to the walls, all advertising various performances by the punk band Crass. Four vitrines are pushed up against the wall on the left, and one vitrine lines the wall to the right. In the corner, between two vitrines, is a stool with a vase of sunflowers atop it.

Gee Vaucher, installation view, 2024.

A forward-facing view of three white walls in a gallery. All three walls are lined with small, densely collaged/painted artworks in black frames, which are hung nearly edge-to-edge. Above the framed artworks are numerous posters announcing various performances by the punk band Crass. Below the framed artworks are vitrines, six in all, lined up against the gallery walls. In the left corner, a vase of sunflowers peeks out from the gap between the edges of two vitrines.

Gee Vaucher, installation view, 2024.

A forward-facing view of a freestanding white wall in a gallery. Nine small artworks made of gouache and collaged elements are hung in a straight line on the wall, each in a black frame with a black mat. The frames are hung very closely together, and on top of one of the artworks in the middle of the wall are hung two vinyl record sleeves. Below the line of framed works are two vitrines full of ephemera.

Gee Vaucher, installation view, 2024.

An angled view of a freestanding white wall in a gallery to the right, with two large windows to the left. On the windows are black vinyl appliques, oriented to face out towards the street. The vinyl on the right is the symbol for the band Crass, a combination between an ouroboros and a cross symbol. To the left is backwards text which reads: LOVE IS ALL OR LOVE IS NOT AT ALL. On the left wall is a line of small artworks all in black frames, hanging above two vitrines full of ephemera.

Gee Vaucher, installation view, 2024.

An overhead view of a vitrine. In the vitrine is a dense array of ephemera relating to the punk band Crass, including zines, posters, fliers, archival photographs and records.

Gee Vaucher, installation view, 2024.

An overhead view of a vitrine. In the vitrine is a dense array of ephemera relating to the punk band Crass, including zines, posters, fliers, archival photographs and records. Many of the fliers bear political slogans such as: “AN ADVERT SETS OUT TO FOOL YOU,” “PEACE NOT WAR,” “WEATH IS A GHETTO,” and “FIGHT WAR - NOT WARS - CRASS: ANARCHY, PEACE & FREEDOM.”

Gee Vaucher, installation view, 2024.

An overhead view of a vitrine. In the vitrine is ephemera relating to the punk band Crass, including several versions of the band’s logo, archival photographs of shows, fliers and more.

Gee Vaucher, installation view, 2024.

A view of two walls in a gallery. On the left wall is a large banner painted on an old bed sheet that reads in block letters: THERE IS NO AUTHORITY BUT YOURSELF. On the right wall is a series of fourteen framed black-and-white photographs of cobblestones, hung in two rows of seven photographs each.

Gee Vaucher, installation view, 2024.

A forward-facing view of a white wall in a gallery hung with fourteen photographs, hung in two horizontal rows of seven. The photographs are in black-and-white and depict varying views of light glinting off of black-and-white cobblestones.

Gee Vaucher, installation view, 2024.

A forward-facing view of a white wall in a gallery. On the wall are hung two large paintings of bulls on unstretched canvas. The bulls are depicted against washy brown backgrounds, their shadows stark against the formless ground.

Gee Vaucher, installation view, 2024.  

An angled view of art hung in a gallery. On the left wall are a variety of framed work hung in varying compositions. On the rear wall, which is painted black, are several poster-sized digital prints. On the right wall are two very large paintings of bulls, which take up the entirety of the wall.

Gee Vaucher, installation view, 2024.

An angled view of a long white wall in a gallery, interrupted by two brick archways in the wall. In the center, between the two arches, are three artworks in black frames. To the right of the second archway are 27 framed collages hung in 3 rows of 9 each. Below the frames, two vitrines are installed.

Gee Vaucher, installation view, 2024.

A forward-facing view of 27 framed collages on a white wall in a gallery. The works are hung in 9 horizontal rows of 3 each. Below the framed works are two vitrines.

Gee Vaucher, installation view, 2024.

A view of two walls in a gallery. On the edge of the wall closer to the viewer is a wall-mounted lectern, atop which rests a large open book resembling a Bible. The wall behind this is painted red. On the red wall hangs a large painting of a young girl with large eyes and a furrowed brow. Illegible words and phrases are scrawled throughout the painting.

Gee Vaucher, installation view, 2024.

A forward-facing view of three walls in a gallery; the rear/middle wall is freestanding, with gaps between its edges and those of the walls flanking it. All three walls are painted bright red. On the rear wall is a 7-foot tall painting of a young child with dark eyes and hair. The child’s face is somewhat distorted and appears smeared with dirt. On the right wall are two more paintings of the same size, also of children with large, haunting faces; the child in the painting furthest to the right has her eyes squeezed shut. On the left is another large painting of a child’s face; splatters of paint run down the child’s face.

Gee Vaucher, installation view, 2024.

An angled view of two freestanding walls in a gallery, both painted bright red. On the left wall is a 7-foot tall painting of a young child with dark eyes and hair. The child’s face is somewhat distorted and appears smeared with dirt. On the right wall are two more paintings of the same size, also of children with large, haunting faces; the child in the painting furthest to the right has her eyes squeezed shut. To the right of this painting, on the shorter side of the wall, is a wall-mounted lectern with a large book open atop it.

Gee Vaucher, installation view, 2024.

A straight-on view of a red wall. On the wall are two very large paintings of children’s faces. The child on the left has her eyes open, while the child in the painting on the right has her eyes squeezed shut. The lower quarter of the canvas is blank except for rivulets of paint that run over the raw canvas to the edge of the frame.

Gee Vaucher, installation view, 2024.

An angled view of a black wall. Nine poster-sized digital prints in both color and black and white are hung on the wall in a straight line. Several of the posters are emblazoned with text. The poster third from the left depicts the Statue of Liberty with her face in her hands, and red text overlaid that reads: “OH AMERICA, GIVE US JUSTICE WHICH IS NOT THE SEARING SPITE OF REVENGE, PEACE WHICH IS NOT THE PRODUCT OF WAR NOR DEPENDENT UPON IT, GIVE US FREEDOM WHERE NOW THERE IS ONLY SERVITUDE.” The poster second from the right depicts a tank with a man hunched in front of it with text at the top that reads: “WELCOME TO PALESTINE.” The poster on the right shows a body being pieced with the base of a cross, which is held by an oversized hand; text to the left reads “ONWARD CHRISTIAN SOLDIERS.”

Gee Vaucher, installation view, 2024.

An angled view of several walls in a gallery. The freestanding wall closest to the viewer is hung with two large paintings of bulls on unstretched canvas. A grid of fourteen drawings with collaged elements in wood frames is hung on another freestanding wall, positioned perpendicularly behind the right edge of the front wall. On a large wall to the rear of the room is visible a poster of the Statue of Liberty with her face in her hands, overlaid with red text.

Gee Vaucher, installation view, 2024.

A straight-on view of fourteen framed drawings with collaged elements in wood frames hung in a grid.

Gee Vaucher, installation view, 2024.

An angled interior view of a large window between two white columns. There is a small black and white framed painting on each of the columns. Black vinyl lettering is adhered to the inside of the window between the two columns. The text is oriented to face outwards onto the street, and is backwards from the viewer’s perspective.

Gee Vaucher, installation view, 2024.

An exterior view of the window of a building with the blinds drawn. The window is overlaid with large black vinyl text that stands out against the white blinds behind it. The text reads reads “JUST GIVE,” and, below, in smaller font: “YOU HAVE NOTHING TO LOSE.”

Gee Vaucher, installation view, 2024.

An exterior view of the window of a building with the blinds drawn. The window houses two phrases in black vinyl text. The text on the left reads: “LIBERATION IS NOT A POLITICAL GAME, BUT A PERSONAL IMPERATIVE: THE WAR IS WITHIN.” The text on the right reads: “OUR BIOLOGICAL NEEDS ARE CO-OPTED & COMMODIFIED THEN SOLD BACK TO US AS SYNTHETIC SHAMS OF THE NATURAL LIFE THAT IS RIGHTFULLY OURS.”

Gee Vaucher, installation view, 2024.

An exterior view of the window of a building with the blinds drawn. Black vinyl text on the window reads, in large letters, “LOVE IS ALL OR LOVE IS NOT AT ALL.”

Gee Vaucher, installation view, 2024.

An exterior view of the window of a building. Black vinyl text on the window reads, on the left: “PERSONALLY, SOCIALLY AND GLOBALLY WHEN DIGNITY IS DENIED SAVAGERY TAKES THE REINS,” and, on the right, “DEFINE AN ENEMY AND YOU BECOME ONE.”

Gee Vaucher, installation view, 2024.

An exterior view of the window of a building. The blinds are drawn, providing a blank backdrop for a large black vinyl symbol on the window, which is the logo for the band Crass. The symbol is a combination of an ouroboros, a cross, and a crossed-out sign.

Gee Vaucher, installation view, 2024.

Press Release

Opening Reception: Thursday, September 12, 2024. 6–8pm.

“While the stenches of corruption and injustice do linger, it is an honorable thing to point or even lift a finger.” – Ian Dury, 1997 [1]

White Columns is proud to present CRⒶSS OVER – Gee Vaucher: Crass & Beyond, the most comprehensive exhibition to date in the United States by the pioneering British artist Gee Vaucher (b. 1945, Dagenham, England.) This will be Vaucher’s first exhibition in New York in nearly two decades, and coincides with the publication of CRASS: A Pictorial History (Exitstencil Press, UK, 2024), the definitive account of the hugely influential British anarcho-punk band Crass (1977-1984.) The exhibition presents Vaucher’s iconic artwork produced for Crass alongside the work that she has subsequently created in the decades following the band’s planned demise in 1984, including her harrowing series of large-scale paintings Children Who Have Seen Too Much Too Soon (2006-2024).

Gee Vaucher and Penny Rimbaud were instrumental in shaping the visual identity of Crass (1977-1984) and their determinedly independent label Crass Records. The illustrations she produced for Crass are amongst the defining aesthetic accounts of the punk era. Vaucher’s approach has always been informed by her deep social and political engagement. Her early work collided the agitprop-like aesthetics of collage and photomontage with an often dark and subversive humor. Informed equally by Dada, Surrealism, and the polemical graphics associated with protest movements, Vaucher’s practice evolved directly from her own activism and her identity as a feminist, pacifist, vegetarian, anarchist and “whateverist.” Vaucher was a co-founder of Dial House (1967 to the present), a self-sustaining, open-door house located in Essex, England, which played a central role within Crass’ history. It was from this base that in 1972, “ICES 72” (the International Carnival of Experimental Sound) was worked on alongside members of the Fluxus Movement and other avant-garde luminaries. At the same time, members of the household co-founded the UK’s first truly free festival, the Stonehenge Festival, setting a pattern for the UK’s Festival Movement of the 1970s and 1980s.

For much of the past fifty years Vaucher’s work has circulated outside of, and beyond, the mainstream art world, and has been more typically contextualized within the legacies of punk and political subcultures. However, over the past decade there has been a growing recognition of, and engagement with, Vaucher’s practice from both the art world and the academy, resulting in her first career survey, Introspective, which took place in 2017 at Firstsite, Colchester, England; the publication of Rebecca Binns’ academic biography Gee Vaucher: Beyond Punk, Feminism and the Avant-Garde (Manchester University Press, 2022), and Vaucher’s inclusion in 2023 in the exhibition Machinations at Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain and Tate Britain’s groundbreaking exhibition Women In Revolt! Art and Activism in the UK 1970-1990. Eschewing easy categorization, Vaucher’s work remains among the most powerful and poignant art made anywhere in the past fifty years.

CRⒶSS OVER – Gee Vaucher: Crass & Beyond will provide American audiences, both new and old, with a rare opportunity to explore in-depth the visionary imagination of one of the most prescient artists working today. As the celebrated British political photomontage artist Peter Kennard wrote of Vaucher’s work in 1997:

“The anger that fuels the work has become more ‘inward’ as time progresses. It is as if the work is now trying to reach inside bodies and find a social truth from the interior of our physical being. Her art tears through the lies that are now the official discourse of public life. Through the images she conjures up the possibility of a different life.” [2]

[1] Ian Dury – from Gee Vaucher: Crass Art and Other Pre Post-Modernist Monsters (AK Press, 1999.)

[2] Peter Kennard – from the foreword to Gee Vaucher: Crass Art and Other Pre Post-Modernist Monsters (AK Press, 1999.)

 

 

Gee Vaucher was born in 1945 into a working-class family from Dagenham, Essex, England. She was accepted into art school at the age of 15, and attended South-East Essex Technical College and School of Art between 1961 and 1966. In the 1970s she developed her signature gouache painting technique – which is often mistaken for collage – and worked for a number of years in New York as an accomplished illustrator for The New York Times, New York Magazine, Ebony, Rolling Stone and High Times, among other publications. Whilst living in New York she produced the inaugural issue of her pivotal magazine International Anthem, an important precursor to the work she would subsequently make with Crass. In 1979 Vaucher returned to Dial House to live and work as a part of Crass. Her work with Crass is among the most important and influential of the entire punk and post-punk era and helped to define the subsequent aesthetics associated with both the wider anarcho and hardcore punk movements. Vaucher’s work was the subject of a first survey exhibition Introspective at Firstsite, Colchester, England in 2017. In 2023, her work was included in Machinations at Reina Sofía, Madrid Spain and in Tate Britain’s exhibition Women In Revolt! Art and Activism in the UK 1970-1990. An academic biography of Vaucher’s life and work, Gee Vaucher: Beyond Punk, Feminism and the Avant-Garde by Rebecca Binns was published by the Manchester University Press in 2022. Vaucher continues to live and work at Dial House in Essex, England.

 

 

White Columns would like to sincerely thank Gee Vaucher for her enthusiastic collaboration on this project. We would also like to thank Johan Kugelberg at Boo-Hooray, New York for making the initial connection between Gee and White Columns, and for his tireless and ongoing commitment to introducing Gee’s and Crass’ work to new audiences. We would like to thank both Gavin Brown and Jack Hanley who organized exhibitions with Gee in 2006 in New York and San Francisco respectively. We would like to thank Jon Savage for his 1989 interview with Crass, which has been published in book form to coincide with the exhibition. We would like to thank Penny Rimbaud and Ingrid Laubrock for their performance “Arthur Rimbaud in Verdun,” and all of our colleagues at Artists Space and Anthology Film Archives for their collaboration on the satellite events relating to Gee’s exhibition.

For more information about this exhibition, please contact info@whitecolumns.org

For press inquiries, contact violet@whitecolumns.org

Checklist

Publications

A wide range of publications on Vaucher’s work and print editions will be available to purchase from the gallery including copies of the recently published Crass: A Pictorial History 1977-1984 (Exitstencil Press, UK, 2024); the first print edition of the previously unpublished International Anthem, Vol. 5 (Exitstencil Press/Boo-Hooray, 1983/2024); and Four Years After & Counting, Jon Savage’s previously unpublished 1989 interview with Crass (Boo-Hooray, 2024.)

Events

Saturday, September 14 at Artists Space

Penny Rimbaud (Crass) and Ingrid Laubrock performing “Arthur Rimbaud in Verdun”

Thank you to our colleagues at Artists Space for co-hosting this event!

Monday, September 16 at Anthology Film Archives

White Columns presents: Gee Vaucher: “SEMI DETACHeD” – Crass video collages 1978-1984.

Followed by a Q&A with Gee Vaucher & Penny Rimbaud.

An angled view of two white walls in a gallery. At the far left edge of the left wall is a long, bright red curtain. The walls are lined with a row of small, densely painted and collaged artworks in black frames, and above the framed works posters are pasted to the walls, all advertising various performances by the punk band Crass. Four vitrines are pushed up against the wall on the left, and one vitrine lines the wall to the right. In the corner, between two vitrines, is a stool with a vase of sunflowers atop it.
A forward-facing view of three white walls in a gallery. All three walls are lined with small, densely collaged/painted artworks in black frames, which are hung nearly edge-to-edge. Above the framed artworks are numerous posters announcing various performances by the punk band Crass. Below the framed artworks are vitrines, six in all, lined up against the gallery walls. In the left corner, a vase of sunflowers peeks out from the gap between the edges of two vitrines.
A forward-facing view of a freestanding white wall in a gallery. Nine small artworks made of gouache and collaged elements are hung in a straight line on the wall, each in a black frame with a black mat. The frames are hung very closely together, and on top of one of the artworks in the middle of the wall are hung two vinyl record sleeves. Below the line of framed works are two vitrines full of ephemera.
An angled view of a freestanding white wall in a gallery to the right, with two large windows to the left. On the windows are black vinyl appliques, oriented to face out towards the street. The vinyl on the right is the symbol for the band Crass, a combination between an ouroboros and a cross symbol. To the left is backwards text which reads: LOVE IS ALL OR LOVE IS NOT AT ALL. On the left wall is a line of small artworks all in black frames, hanging above two vitrines full of ephemera.
An overhead view of a vitrine. In the vitrine is a dense array of ephemera relating to the punk band Crass, including zines, posters, fliers, archival photographs and records.
An overhead view of a vitrine. In the vitrine is a dense array of ephemera relating to the punk band Crass, including zines, posters, fliers, archival photographs and records. Many of the fliers bear political slogans such as: “AN ADVERT SETS OUT TO FOOL YOU,” “PEACE NOT WAR,” “WEATH IS A GHETTO,” and “FIGHT WAR - NOT WARS - CRASS: ANARCHY, PEACE & FREEDOM.”
An overhead view of a vitrine. In the vitrine is ephemera relating to the punk band Crass, including several versions of the band’s logo, archival photographs of shows, fliers and more.
A view of two walls in a gallery. On the left wall is a large banner painted on an old bed sheet that reads in block letters: THERE IS NO AUTHORITY BUT YOURSELF. On the right wall is a series of fourteen framed black-and-white photographs of cobblestones, hung in two rows of seven photographs each.
A forward-facing view of a white wall in a gallery hung with fourteen photographs, hung in two horizontal rows of seven. The photographs are in black-and-white and depict varying views of light glinting off of black-and-white cobblestones.
A forward-facing view of a white wall in a gallery. On the wall are hung two large paintings of bulls on unstretched canvas. The bulls are depicted against washy brown backgrounds, their shadows stark against the formless ground.
An angled view of art hung in a gallery. On the left wall are a variety of framed work hung in varying compositions. On the rear wall, which is painted black, are several poster-sized digital prints. On the right wall are two very large paintings of bulls, which take up the entirety of the wall.
An angled view of a long white wall in a gallery, interrupted by two brick archways in the wall. In the center, between the two arches, are three artworks in black frames. To the right of the second archway are 27 framed collages hung in 3 rows of 9 each. Below the frames, two vitrines are installed.
A forward-facing view of 27 framed collages on a white wall in a gallery. The works are hung in 9 horizontal rows of 3 each. Below the framed works are two vitrines.
A view of two walls in a gallery. On the edge of the wall closer to the viewer is a wall-mounted lectern, atop which rests a large open book resembling a Bible. The wall behind this is painted red. On the red wall hangs a large painting of a young girl with large eyes and a furrowed brow. Illegible words and phrases are scrawled throughout the painting.
A forward-facing view of three walls in a gallery; the rear/middle wall is freestanding, with gaps between its edges and those of the walls flanking it. All three walls are painted bright red. On the rear wall is a 7-foot tall painting of a young child with dark eyes and hair. The child’s face is somewhat distorted and appears smeared with dirt. On the right wall are two more paintings of the same size, also of children with large, haunting faces; the child in the painting furthest to the right has her eyes squeezed shut. On the left is another large painting of a child’s face; splatters of paint run down the child’s face.
An angled view of two freestanding walls in a gallery, both painted bright red. On the left wall is a 7-foot tall painting of a young child with dark eyes and hair. The child’s face is somewhat distorted and appears smeared with dirt. On the right wall are two more paintings of the same size, also of children with large, haunting faces; the child in the painting furthest to the right has her eyes squeezed shut. To the right of this painting, on the shorter side of the wall, is a wall-mounted lectern with a large book open atop it.
A straight-on view of a red wall. On the wall are two very large paintings of children’s faces. The child on the left has her eyes open, while the child in the painting on the right has her eyes squeezed shut. The lower quarter of the canvas is blank except for rivulets of paint that run over the raw canvas to the edge of the frame.
An angled view of a black wall. Nine poster-sized digital prints in both color and black and white are hung on the wall in a straight line. Several of the posters are emblazoned with text. The poster third from the left depicts the Statue of Liberty with her face in her hands, and red text overlaid that reads: “OH AMERICA, GIVE US JUSTICE WHICH IS NOT THE SEARING SPITE OF REVENGE, PEACE WHICH IS NOT THE PRODUCT OF WAR NOR DEPENDENT UPON IT, GIVE US FREEDOM WHERE NOW THERE IS ONLY SERVITUDE.” The poster second from the right depicts a tank with a man hunched in front of it with text at the top that reads: “WELCOME TO PALESTINE.” The poster on the right shows a body being pieced with the base of a cross, which is held by an oversized hand; text to the left reads “ONWARD CHRISTIAN SOLDIERS.”
An angled view of several walls in a gallery. The freestanding wall closest to the viewer is hung with two large paintings of bulls on unstretched canvas. A grid of fourteen drawings with collaged elements in wood frames is hung on another freestanding wall, positioned perpendicularly behind the right edge of the front wall. On a large wall to the rear of the room is visible a poster of the Statue of Liberty with her face in her hands, overlaid with red text.
A straight-on view of fourteen framed drawings with collaged elements in wood frames hung in a grid.
An angled interior view of a large window between two white columns. There is a small black and white framed painting on each of the columns. Black vinyl lettering is adhered to the inside of the window between the two columns. The text is oriented to face outwards onto the street, and is backwards from the viewer’s perspective.
An exterior view of the window of a building with the blinds drawn. The window is overlaid with large black vinyl text that stands out against the white blinds behind it. The text reads reads “JUST GIVE,” and, below, in smaller font: “YOU HAVE NOTHING TO LOSE.”
An exterior view of the window of a building with the blinds drawn. The window houses two phrases in black vinyl text. The text on the left reads: “LIBERATION IS NOT A POLITICAL GAME, BUT A PERSONAL IMPERATIVE: THE WAR IS WITHIN.” The text on the right reads: “OUR BIOLOGICAL NEEDS ARE CO-OPTED & COMMODIFIED THEN SOLD BACK TO US AS SYNTHETIC SHAMS OF THE NATURAL LIFE THAT IS RIGHTFULLY OURS.”
An exterior view of the window of a building with the blinds drawn. Black vinyl text on the window reads, in large letters, “LOVE IS ALL OR LOVE IS NOT AT ALL.”
An exterior view of the window of a building. Black vinyl text on the window reads, on the left: “PERSONALLY, SOCIALLY AND GLOBALLY WHEN DIGNITY IS DENIED SAVAGERY TAKES THE REINS,” and, on the right, “DEFINE AN ENEMY AND YOU BECOME ONE.”
An exterior view of the window of a building. The blinds are drawn, providing a blank backdrop for a large black vinyl symbol on the window, which is the logo for the band Crass. The symbol is a combination of an ouroboros, a cross, and a crossed-out sign.

Gee Vaucher, installation view, 2024. (An angled view of two white walls in a gallery. At the far left edge of the left wall is a long, bright red curtain. The walls are lined with a row of small, densely painted and collaged artworks in black frames, and above the framed works posters are pasted to the walls, all advertising various performances by the punk band Crass. Four vitrines are pushed up against the wall on the left, and one vitrine lines the wall to the right. In the corner, between two vitrines, is a stool with a vase of sunflowers atop it.)

Gee Vaucher, installation view, 2024. (A forward-facing view of three white walls in a gallery. All three walls are lined with small, densely collaged/painted artworks in black frames, which are hung nearly edge-to-edge. Above the framed artworks are numerous posters announcing various performances by the punk band Crass. Below the framed artworks are vitrines, six in all, lined up against the gallery walls. In the left corner, a vase of sunflowers peeks out from the gap between the edges of two vitrines.)

Gee Vaucher, installation view, 2024. (A forward-facing view of a freestanding white wall in a gallery. Nine small artworks made of gouache and collaged elements are hung in a straight line on the wall, each in a black frame with a black mat. The frames are hung very closely together, and on top of one of the artworks in the middle of the wall are hung two vinyl record sleeves. Below the line of framed works are two vitrines full of ephemera.)

Gee Vaucher, installation view, 2024. (An angled view of a freestanding white wall in a gallery to the right, with two large windows to the left. On the windows are black vinyl appliques, oriented to face out towards the street. The vinyl on the right is the symbol for the band Crass, a combination between an ouroboros and a cross symbol. To the left is backwards text which reads: LOVE IS ALL OR LOVE IS NOT AT ALL. On the left wall is a line of small artworks all in black frames, hanging above two vitrines full of ephemera.)

Gee Vaucher, installation view, 2024. (An overhead view of a vitrine. In the vitrine is a dense array of ephemera relating to the punk band Crass, including zines, posters, fliers, archival photographs and records.)

Gee Vaucher, installation view, 2024. (An overhead view of a vitrine. In the vitrine is a dense array of ephemera relating to the punk band Crass, including zines, posters, fliers, archival photographs and records. Many of the fliers bear political slogans such as: “AN ADVERT SETS OUT TO FOOL YOU,” “PEACE NOT WAR,” “WEATH IS A GHETTO,” and “FIGHT WAR – NOT WARS – CRASS: ANARCHY, PEACE & FREEDOM.”)

Gee Vaucher, installation view, 2024. (An overhead view of a vitrine. In the vitrine is ephemera relating to the punk band Crass, including several versions of the band’s logo, archival photographs of shows, fliers and more.)

Gee Vaucher, installation view, 2024. (A view of two walls in a gallery. On the left wall is a large banner painted on an old bed sheet that reads in block letters: THERE IS NO AUTHORITY BUT YOURSELF. On the right wall is a series of fourteen framed black-and-white photographs of cobblestones, hung in two rows of seven photographs each.)

Gee Vaucher, installation view, 2024. (A forward-facing view of a white wall in a gallery hung with fourteen photographs, hung in two horizontal rows of seven. The photographs are in black-and-white and depict varying views of light glinting off of black-and-white cobblestones.)

Gee Vaucher, installation view, 2024. (A forward-facing view of a white wall in a gallery. On the wall are hung two large paintings of bulls on unstretched canvas. The bulls are depicted against washy brown backgrounds, their shadows stark against the formless ground.)

Gee Vaucher, installation view, 2024. (An angled view of art hung in a gallery. On the left wall are a variety of framed work hung in varying compositions. On the rear wall, which is painted black, are several poster-sized digital prints. On the right wall are two very large paintings of bulls, which take up the entirety of the wall.)h

Gee Vaucher, installation view, 2024. (An angled view of a long white wall in a gallery, interrupted by two brick archways in the wall. In the center, between the two arches, are three artworks in black frames. To the right of the second archway are 27 framed collages hung in 3 rows of 9 each. Below the frames, two vitrines are installed.)

Gee Vaucher, installation view, 2024. (A forward-facing view of 27 framed collages on a white wall in a gallery. The works are hung in 9 horizontal rows of 3 each. Below the framed works are two vitrines.)

Gee Vaucher, installation view, 2024. (A view of two walls in a gallery. On the edge of the wall closer to the viewer is a wall-mounted lectern, atop which rests a large open book resembling a Bible. The wall behind this is painted red. On the red wall hangs a large painting of a young girl with large eyes and a furrowed brow. Illegible words and phrases are scrawled throughout the painting.)

Gee Vaucher, installation view, 2024. (A forward-facing view of three walls in a gallery; the rear/middle wall is freestanding, with gaps between its edges and those of the walls flanking it. All three walls are painted bright red. On the rear wall is a 7-foot tall painting of a young child with dark eyes and hair. The child’s face is somewhat distorted and appears smeared with dirt. On the right wall are two more paintings of the same size, also of children with large, haunting faces; the child in the painting furthest to the right has her eyes squeezed shut. On the left is another large painting of a child’s face; splatters of paint run down the child’s face.)

Gee Vaucher, installation view, 2024. (An angled view of two freestanding walls in a gallery, both painted bright red. On the left wall is a 7-foot tall painting of a young child with dark eyes and hair. The child’s face is somewhat distorted and appears smeared with dirt. On the right wall are two more paintings of the same size, also of children with large, haunting faces; the child in the painting furthest to the right has her eyes squeezed shut. To the right of this painting, on the shorter side of the wall, is a wall-mounted lectern with a large book open atop it.)

Gee Vaucher, installation view, 2024. (A straight-on view of a red wall. On the wall are two very large paintings of children’s faces. The child on the left has her eyes open, while the child in the painting on the right has her eyes squeezed shut. The lower quarter of the canvas is blank except for rivulets of paint that run over the raw canvas to the edge of the frame.)

Gee Vaucher, installation view, 2024. (An angled view of a black wall. Nine poster-sized digital prints in both color and black and white are hung on the wall in a straight line. Several of the posters are emblazoned with text. The poster third from the left depicts the Statue of Liberty with her face in her hands, and red text overlaid that reads: “OH AMERICA, GIVE US JUSTICE WHICH IS NOT THE SEARING SPITE OF REVENGE, PEACE WHICH IS NOT THE PRODUCT OF WAR NOR DEPENDENT UPON IT, GIVE US FREEDOM WHERE NOW THERE IS ONLY SERVITUDE.” The poster second from the right depicts a tank with a man hunched in front of it with text at the top that reads: “WELCOME TO PALESTINE.” The poster on the right shows a body being pieced with the base of a cross, which is held by an oversized hand; text to the left reads “ONWARD CHRISTIAN SOLDIERS.”)

Gee Vaucher, installation view, 2024. (An angled view of several walls in a gallery. The freestanding wall closest to the viewer is hung with two large paintings of bulls on unstretched canvas. A grid of fourteen drawings with collaged elements in wood frames is hung on another freestanding wall, positioned perpendicularly behind the right edge of the front wall. On a large wall to the rear of the room is visible a poster of the Statue of Liberty with her face in her hands, overlaid with red text.)

Gee Vaucher, installation view, 2024. (A straight-on view of fourteen framed drawings with collaged elements in wood frames hung in a grid.)

Gee Vaucher, installation view, 2024. (An angled interior view of a large window between two white columns. There is a small black and white framed painting on each of the columns. Black vinyl lettering is adhered to the inside of the window between the two columns. The text is oriented to face outwards onto the street, and is backwards from the viewer’s perspective.)

Gee Vaucher, installation view, 2024. (An exterior view of the window of a building with the blinds drawn. The window is overlaid with large black vinyl text that stands out against the white blinds behind it. The text reads reads “JUST GIVE,” and, below, in smaller font: “YOU HAVE NOTHING TO LOSE.”)

Gee Vaucher, installation view, 2024. (An exterior view of the window of a building with the blinds drawn. The window houses two phrases in black vinyl text. The text on the left reads: “LIBERATION IS NOT A POLITICAL GAME, BUT A PERSONAL IMPERATIVE: THE WAR IS WITHIN.” The text on the right reads: “OUR BIOLOGICAL NEEDS ARE CO-OPTED & COMMODIFIED THEN SOLD BACK TO US AS SYNTHETIC SHAMS OF THE NATURAL LIFE THAT IS RIGHTFULLY OURS.”)

Gee Vaucher, installation view, 2024. (An exterior view of the window of a building with the blinds drawn. Black vinyl text on the window reads, in large letters, “LOVE IS ALL OR LOVE IS NOT AT ALL.”)

Gee Vaucher, installation view, 2024. (An exterior view of the window of a building. Black vinyl text on the window reads, on the left: “PERSONALLY, SOCIALLY AND GLOBALLY WHEN DIGNITY IS DENIED SAVAGERY TAKES THE REINS,” and, on the right, “DEFINE AN ENEMY AND YOU BECOME ONE.”)

Gee Vaucher, installation view, 2024. (An exterior view of the window of a building. The blinds are drawn, providing a blank backdrop for a large black vinyl symbol on the window, which is the logo for the band Crass. The symbol is a combination of an ouroboros, a cross, and a crossed-out sign.)