Born in Liverpool, England, in 1954, Linder Sterling’s life changed one night in June 1976 when she saw the Sex Pistols play their first show in Manchester. That night, she met Howard Devoto of the Buzzcocks and Morrissey, who would become central figures in her life. Upon discovering she was a student studying commercial art at Manchester Polytechnic, the Buzzcocks asked Linder to produce their fliers and record sleeves.
Linder began working on collages, combining images from women’s lifestyle and pornography magazines, to sumptuous effect. The aesthetics of “feminine” marketing easily lent themselves to a startling, yet charming, dialogue. Combining images of male and female fantasy, Linder found a way to illustrate and comment on the development of our appetites in the modern age. For Linder is not simply a provocateur, or an aesthetic absurdist—she is filling our desire to look and to consume, with a knowing smile and an alluring wink that makes her images at once complicit in the system of objectification, and, at the same time, just a little bit more complicated.
For the works themselves are for sale, and so they can satisfy the sweet tooth of the collector whose investment will most certainly increase the value and significance of these works. Undoubtedly, this is a certain kind of knowingness that makes the purchase of this work something of an act of cognitive dissonance. Purchasing art about consumerism is an ideological ouroburo, a snake eating its own tail. Which perhaps makes Linder an artist of our times. Good thing her work is well represented by Stuart Shave / Modern Art at Frieze New York, booth C55.
Read the Full Story at Crave