Graphic Witness: visual arts & social commentary

Heel of the Boot: prints by Sue Coe
co-curated by Marilyn Zeitlin and Jean Makin
Arizona State University Art Museum, Nelson Fine Arts Center, Tempe, AZ
October 19-December 29, 1996


This exhibition is the first comprehensive retrospective (1979-1996) of Sue Coe's prints to date. The museum maintains in its print archive a complete inventory of Coe's etchings and lithographs.

"The content of Coe's work in prints reflects her commitment to bring into our field of vision -- sometimes in an in-your-face way -- the tragedy of those who are vulnerable to the inhumane use of power. Sue Coe's work -- all of it -- is about power: the misuse of it, the legitimation of its use against the vulnerable. She is the toughest and tenderest, most persistent and most persuasive artist working to awaken people from the torpor of indifference that she equates with complicity. The issues that she has focused on form a calculus of the vulnerable: victims of racism; of war, no matter which side they are on; women; children; and most vulnerable of all, animals. Since 1979, Coe has made prints as a means to extend the reach of her work and the messages it carries. This is in the tradition of the historical role of prints, since an edition makes multiple copies of an image, defying the elite distribution system in which paintings and other unique art objects circulate. Further, the relationaship of printmaking to the printing press is a close one, so that there exists a continuity between two kinds of persuasion, verbal and visual, in Coe's prints. She lampoons the purveyors of power, the politicians or soldiers or butchers."
from the catalog essay by Marilyn Zeitlin, Director, ASU Museum

Subsequent exhibition at the University of Alabama's Sarah Moody Gallery of Art, February 6-March 1, 1998.
Three Penny Opera
Three Penny Opera
Among Coe's earliest prints are 9 photo-etchings, each image smaller than 6 by 9 inches. Like the majority of her more than 100 print images, these have been printed and published by Coe and Steve Murray.

These 9 photo-etchings (dated 1979-1984) are based on drawings dated 1979; the un-numbered print edition was begun in 1984. Plates were defaced 1991.
Greed
Greed

Belfast
Belfast

Bobby Sands
Bobby Sands

Dance of Death
Dance of Death
The Dancing Bear
Dancing Bear

El Salvador
El Salvador

South Africa
South Africa

Vivisection
Vivisection
Please note: All images in Graphic Witness are for personal enjoyment or educational use. Any other use is prohibited.

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