Published by Walther König, Köln. Text by James Boaden, Alyce Mahon, Amy Tobin, Sarah Victoria Turner.
The art of Linder (born 1954) made its public debut not in galleries but in punk fanzines and as art for the sleeve of the Buzzcocks' first single, "Orgasm Addict." Accompanying the first in-depth survey of Linder’s work in the UK, Linderism reproduces works from across her career, from her punk collages to her recent work, and offers four new perspectives on her wide-ranging practice by James Boaden, Alyce Mahon, Amy Tobin and Sarah Victoria Turner.
The essays address Linder’s early photomontages forged in the crucible of punk and postpunk culture in the North-West of England, as well as more recent shifts in her practice encompassing spirituality, the occult and the surreal. Linderism includes extensive documentation of working drawings and research images—the materials that have long formed the basis of her practice—as well as documentation of works included in the survey exhibition.
Linder’s photomontages violate, liberate and celebrate the human body to question the mechanics of gender and its ties to consumer culture and media.
Linder is best known for her pioneering photomontages that replace the sexualised imagery of soft-focus pornographic centrefolds with commodities of domestic middle-class life. Surprising, humorous, and at times shocking, these precise compositions bring to light the powerful fantasies and repressions that underlie our social expectations of identity.
Spanning almost four decades, this monograph interweaves numerous photomontage series throughout Linder’s career, demonstrating the artist’s manipulation of disparate source material – from brightly saturated male pornographic imagery to softly lit portraits of ballerinas. Accompanying over 250 illustrations, a conversation between the artist and Dawn Ades reconciles her work with the history of photomontage.
Published by Walther König, Köln. Edited and with foreword by Fabrice Hergott, Veit Görner. Text by Heinrich Dietz, Fabienne Dumont, Emmanuelle de l’Écotais, Veit Görner, Fabrice Hergott, Linder, Morrissey.
Published fanzine-style on newsprint with a cloth-tape spine, in close collaboration with the artist, Linder: Woman/Object celebrates the career of a protagonist of British punk. Linder’s activities over the past 35 years have encompassed art, music, dance and fashion, deploying collage, photography, video and performance. Throughout, she has pursued an uncompromising feminist critique of gender and the sexual marketing of the female body, most famously in her collages derived from pornography, which were first published on the sleeves of Buzzcocks records. Over the past decade or so, Linder’s work has emerged as a crucial precedent for many artists addressing the image politics of consumerism. This volume gathers a large sampling of collages from across Linder’s career (many reproduced as bound-in color plates), as well as self-portraits and various texts, including a conversation between Linder and Morrissey.
A skeptical, sexy maternity ward nurse staring at a rose-headed father; a French maid with another rose for her head, down on her knees with the vacuum; a trio of mermaids watching a rose-headed scuba-diver swim near... This smart and brightly subversive collection of 12 slipcased postcards by the radical, Feminist, Manchester punk artist, performer and musician Linder Sterling (born in Liverpool in 1954) is published on the occasion of her first solo show--at Linn Lƒhn gallery, Cologne. Known for her collaged work, for the past 30 years Sterling, also known simply as Linder, has been creating photomontages that combine imagery from men's magazines and the objectification of women. By juxtaposing and overlaying nude figures with oversized flowers, cakes, cameras and sewing machines, she creates striking and graphic compositions, employing objects generally associated with domesticity to highlight and challenge notions of power, femininity and consumer culture.
Published by JRP|Ringier. Essays by Philip Hoare, Morrissey, Jon Savage, Andrew Renton and Lynne Tillman.
Linder Sterling's work had its first exposure in the punk fanzine The Secret Public and as art for the sleeve of the Buzzcocks' first single, "Orgasm Addict." Soon she had her own band, Ludus, founded with Ian Divine. Her visuals and her performances have remained legendary in the musical world--for example, a costume consisting of raw meat and a black vibrator, worn for a special evening at the Hacienda--but these formative contributions to the aesthetics of punk and its offshoots have only recently received wider recognition. With no clear academic career path, without institutional or curatorial support, Linder has continued to make multidisciplinary work, work that has led observers to call her the missing link between Yoko Ono and Tracey Emin. This first book, a rediscovery and a debut at once, includes contributions from writers and cultural figures including Philip Hoare, Jon Savage, Andrew Renton, Lynne Tillman, Paul Bailey and Morrissey.