Lecturer in contextual and theoretical studies in Design School at London College of Communication (UAL). PhD (2017) on the subject of Radical & Community Printshop Collectives in the UK (1968-1990s), LSE.
Alternative do-it-yourself (DIY) publishing in the UK is often assumed to have started with photo... more Alternative do-it-yourself (DIY) publishing in the UK is often assumed to have started with photocopiers and punks. However, counterculture and grassroots movements from the mid-1960s onwards generated an explosion of alternative 'not for profit' print and publications, frequently produced by amateurs using basic technologies. Much of this was consciously infused with notions of autonomy and anti-specialism, themes that were to continue or rematerialize through punk. We do not mean to deny the sheer creativity and distinctiveness of punk culture; but by drawing attention to examples of alternative DIY print cultures that preceded, co-existed with and, at times, intermingled with punk, we hope to constructively complicate the history of fanzine production and the DIY narrative associated with it. We do this by examining three aspects of these 'other' DIY print cultures: the production practices of a range of grassroots and radical publications; the processes of various artists' publications and activities; and the development of community or 'self-help' radical printshops. Firstly, however, we shall outline the wider cultural, technological and discursive context that enabled these publishing activities to take place.
Born of a particular conjunction of community activism, cultural critique and technological possi... more Born of a particular conjunction of community activism, cultural critique and technological possibility, self-managed 'community printshops' were set up in cities across the UK between the late 1960s and mid 1970s. The motivation to provide much-needed print resources for activists was accompanied by the aspiration that direct access to the means of print-media production could also foster social and political empowerment. They were part of an emergent phenomena of politically motivated 'alternative left' printshops that included poster collectives, printing co-operatives and 'resource centres' and which appeared in numerous cities. This general occurrence was not particular to the UK; similar workshops were established in other parts of Europe and north America in the same period (Cushing, 2012). Although there was variation in the UK use of the term 'community printshop', it mostly referred to a printshop that was a) 'non-commercial'; b) had a connection to locally based activism ('community' being partially associated with geography); c) encouraged 'user-participation'. It is this general definition that I will be using. As will become evident, the manner and extent to which each of these three factors played out varied both between printshops and within their individual existences.
A 'radical print' revival of posters, newspapers and pamphlets has been taking place over the las... more A 'radical print' revival of posters, newspapers and pamphlets has been taking place over the last few years. STRIKE!, of course is part of it. Artists and designers, often citing inspiration from the explosion of print that ensued from the radical and social movements of the 1960s and 70s, seem to political gatherings or in radical or independent bookshops. Institutions are taking notice in other ways been nominated for the Turner Prize for a gallery residency that involved making posters with local activists and a talk by members of the 1970s feminist poster collective, See Red Women's Workshop. This week students from art schools in Manchester, Salford and Liverpool participated in a 'poster Protest project set by the V&A and PHM . The 'winners' efforts were then acquired for the PHM collection. For their poster workshop at the Anarchist Bookfair STRIKE! invoke the 'order' by the 'the factory'. Although the factory motif of 'zig-zag roof plus chimney' appear in the posters of the off the hook; public display is all they ask. What accounts for these reenactments and revivals -if that is what they are. Are they akin to 1970s tribute bands? Are they just the cutting edge of 'vintage', a self-announced radical fringe of retro-style? The inky wing of so-called 'craftivism'? A desperate bid by designers to create products of distinction? How are the motivations different to those cranking out independent radical print media in the late twentieth century? And what is it all for? I'm not entirely sure but these are a few thoughts and a bit of history. My remarks refer to the UK context.
Cultural Policy, Criticism and Management Research, Oct 2012
Relatively cheap and accessible, digital technologies have facilitated both social movements and ... more Relatively cheap and accessible, digital technologies have facilitated both social movements and the individual 'citizen' commentator not only in the production of alternative and critical discourses but also in the potential to connect to a global public. As Jenny Kidd in a recent issue of this journal has noted (along with many others), much has been and continues to be made of the 'democratic potential' of accessible networked information technologies. However, little over 30 years ago direct access to simple printing technology was also perceived as facilitating contestatory and empowering alternatives to the forms and practices of dominant media and culture. Print, it should be remembered, was in many parts of the world and for much of the twentieth century (at the very least), the main form for radical, democratic and alternative critical media practice. his article examines the output and practices of two London-based feminist printing collectives that operated between the 1970s and early 1990s and for whom the principles of democratic participation and access were central. heir activities are discussed in relation to the speciic, changing and sometimes challenging, politico-cultural contexts in which they existed. Cultural Policy, Criticism and Management Research 30
Chapter in 'Communicative Approaches to Politics and Ethics in Europe' (2009) Eds. N. Carpentier, P. Pruulmann-Vengerfeldt, R. Kilborn, T. Olsson, H. Nieminen, E. Sundin and K. Nordenstreng. , 2009
Alternative do-it-yourself (DIY) publishing in the UK is often assumed to have started with photo... more Alternative do-it-yourself (DIY) publishing in the UK is often assumed to have started with photocopiers and punks. However, counterculture and grassroots movements from the mid-1960s onwards generated an explosion of alternative 'not for profit' print and publications, frequently produced by amateurs using basic technologies. Much of this was consciously infused with notions of autonomy and anti-specialism, themes that were to continue or rematerialize through punk. We do not mean to deny the sheer creativity and distinctiveness of punk culture; but by drawing attention to examples of alternative DIY print cultures that preceded, co-existed with and, at times, intermingled with punk, we hope to constructively complicate the history of fanzine production and the DIY narrative associated with it. We do this by examining three aspects of these 'other' DIY print cultures: the production practices of a range of grassroots and radical publications; the processes of various artists' publications and activities; and the development of community or 'self-help' radical printshops. Firstly, however, we shall outline the wider cultural, technological and discursive context that enabled these publishing activities to take place.
Born of a particular conjunction of community activism, cultural critique and technological possi... more Born of a particular conjunction of community activism, cultural critique and technological possibility, self-managed 'community printshops' were set up in cities across the UK between the late 1960s and mid 1970s. The motivation to provide much-needed print resources for activists was accompanied by the aspiration that direct access to the means of print-media production could also foster social and political empowerment. They were part of an emergent phenomena of politically motivated 'alternative left' printshops that included poster collectives, printing co-operatives and 'resource centres' and which appeared in numerous cities. This general occurrence was not particular to the UK; similar workshops were established in other parts of Europe and north America in the same period (Cushing, 2012). Although there was variation in the UK use of the term 'community printshop', it mostly referred to a printshop that was a) 'non-commercial'; b) had a connection to locally based activism ('community' being partially associated with geography); c) encouraged 'user-participation'. It is this general definition that I will be using. As will become evident, the manner and extent to which each of these three factors played out varied both between printshops and within their individual existences.
A 'radical print' revival of posters, newspapers and pamphlets has been taking place over the las... more A 'radical print' revival of posters, newspapers and pamphlets has been taking place over the last few years. STRIKE!, of course is part of it. Artists and designers, often citing inspiration from the explosion of print that ensued from the radical and social movements of the 1960s and 70s, seem to political gatherings or in radical or independent bookshops. Institutions are taking notice in other ways been nominated for the Turner Prize for a gallery residency that involved making posters with local activists and a talk by members of the 1970s feminist poster collective, See Red Women's Workshop. This week students from art schools in Manchester, Salford and Liverpool participated in a 'poster Protest project set by the V&A and PHM . The 'winners' efforts were then acquired for the PHM collection. For their poster workshop at the Anarchist Bookfair STRIKE! invoke the 'order' by the 'the factory'. Although the factory motif of 'zig-zag roof plus chimney' appear in the posters of the off the hook; public display is all they ask. What accounts for these reenactments and revivals -if that is what they are. Are they akin to 1970s tribute bands? Are they just the cutting edge of 'vintage', a self-announced radical fringe of retro-style? The inky wing of so-called 'craftivism'? A desperate bid by designers to create products of distinction? How are the motivations different to those cranking out independent radical print media in the late twentieth century? And what is it all for? I'm not entirely sure but these are a few thoughts and a bit of history. My remarks refer to the UK context.
Cultural Policy, Criticism and Management Research, Oct 2012
Relatively cheap and accessible, digital technologies have facilitated both social movements and ... more Relatively cheap and accessible, digital technologies have facilitated both social movements and the individual 'citizen' commentator not only in the production of alternative and critical discourses but also in the potential to connect to a global public. As Jenny Kidd in a recent issue of this journal has noted (along with many others), much has been and continues to be made of the 'democratic potential' of accessible networked information technologies. However, little over 30 years ago direct access to simple printing technology was also perceived as facilitating contestatory and empowering alternatives to the forms and practices of dominant media and culture. Print, it should be remembered, was in many parts of the world and for much of the twentieth century (at the very least), the main form for radical, democratic and alternative critical media practice. his article examines the output and practices of two London-based feminist printing collectives that operated between the 1970s and early 1990s and for whom the principles of democratic participation and access were central. heir activities are discussed in relation to the speciic, changing and sometimes challenging, politico-cultural contexts in which they existed. Cultural Policy, Criticism and Management Research 30
Chapter in 'Communicative Approaches to Politics and Ethics in Europe' (2009) Eds. N. Carpentier, P. Pruulmann-Vengerfeldt, R. Kilborn, T. Olsson, H. Nieminen, E. Sundin and K. Nordenstreng. , 2009
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