Linder: Signed Catalogue
Regular price
£50.00
Linder: Danger Came Smiling
at the Hayward Gallery 11 Feb – 5 May 2025
Major survey of the artistic provocateur and trailblazer Linder (b.1954, Liverpool). Offers an illuminating overview of the past 50 years of this iconic artist's career, exploring the full range of Linder’s thought-provoking work and underscoring the experimental and feminist impulses of her practice.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
240 pages
Hardback, with foil stamped lettering
RRP £35. Special exhibition price £25
Linder: Danger Came Smiling
at the Hayward Gallery 11 Feb – 5 May 2025
Major survey of the artistic provocateur and trailblazer Linder (b.1954, Liverpool). Offers an illuminating overview of the past 50 years of this iconic artist's career, exploring the full range of Linder’s thought-provoking work and underscoring the experimental and feminist impulses of her practice.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
240 pages
Hardback, with foil stamped lettering
RRP £35. Special exhibition price £25
Southbank Centre Shop
Southbank Centre Shop, Mandela Walk, Belvedere Road
London SE1 8XX
United Kingdom
Linder: Signed Catalogue
Regular price
£50.00
Linder: Danger Came Smiling
at the Hayward Gallery 11 Feb – 5 May 2025
Major survey of the artistic provocateur and trailblazer Linder (b.1954, Liverpool). Offers an illuminating overview of the past 50 years of this iconic artist's career, exploring the full range of Linder’s thought-provoking work and underscoring the experimental and feminist impulses of her practice.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
240 pages
Hardback, with foil stamped lettering
RRP £35. Special exhibition price £25
Linder: Danger Came Smiling
at the Hayward Gallery 11 Feb – 5 May 2025
Major survey of the artistic provocateur and trailblazer Linder (b.1954, Liverpool). Offers an illuminating overview of the past 50 years of this iconic artist's career, exploring the full range of Linder’s thought-provoking work and underscoring the experimental and feminist impulses of her practice.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
Linder first emerged in the late 1970s as a prominent figure within the dynamic landscapes of punk and post-punk music; her photomontage on the cover of Buzzcocks’ single ‘Orgasm Addict’ in 1977 became an iconic image of the punk scene. Following her punk period, Linder went on to become an internationally recognised artist renowned for her multifaceted practice. Her journey has been one of relentless exploration, venturing into realms as varied as fashion, music, performance, perfume, textiles, and film. At the heart of her explorations lies a profound engagement with the poetics of protest, where artistic inquiry intertwines seamlessly with cultural critique.
Throughout her career, Linder has used photomontage as a potent instrument for dissecting and reshaping the portrayal and commercialisation of gender norms and sexual identity. Drawing from source materials extracted from magazines of the late twentieth century, she exposes the weighty stereotypes imposed on both ends of the gender spectrum: automobiles, DIY culture and pornography for men; fashion and domesticity for women. In addition to using found images from magazines, Linder has also used photographs of herself taking on various feminine personae, which navigate concepts of personal invention and the performative dimensions of identity. Her art is informed by a rich tapestry of influences spanning religious art, surrealism, mysticism, and the ever-evolving landscape of social media.
This volume – with new essays by Rachel Thomas, Marina Warner and Chris Kraus, and an interview with the artist by Gillian Fox – accompanies a major touring exhibition.
240 pages
Hardback, with foil stamped lettering
RRP £35. Special exhibition price £25
