author/editor unknown. Contemporary British illustration: Sue Coe, George Hardie, Bush Hollyhead, Anne Howeson, Robert Mason, Tony McSweeney, Russell Mills, Gary Powell, Liz Pyle, Linda Scott, Peter Till, Ian Wright. London: Institute of Contemporary Arts, 1985.

Baker, Steve. The Postmodern Animal, London: Reaktion Books, 2000. "In The Postmodern Animal, Steve Baker explores how animal imagery has been used in recent and contemporary art and performance, and in postmodern philosophy and literature, to shape ideas about identity and creativity. Baker cogently analyzes the work of such British and American artists as Olly and Suzi, Mark Dion, Damien Hirst and Sue Coe..."

BLAB!
Beauchamp, Monte, editor of Blab!, Seattle: Fantagraphics Books:
     Sue Coe, Ghost Sheep, Blab! 13 Autumn 2002
     Sue Coe and Judy Brody Weapons of Mass Destruction, Blab! 14 Autumn 2003
     Sue Coe, The Man with No Heart, New & Used Blab!, San Francisco: Chronicle Books, 2003.
     Sue Coe and Judith Brody Fowl Plague, Blab! 15 Autumn 2004
     Sue Coe and Judith Brody Run, Blab! 16 Autumn 2005
     Sue Coe and Judith Brody Hurricane, Blab! 17 Autumn 2006

Coates-Smith, Wendy and Martin Salisbury, editors. Line No. 1: Reportage. APU Department of Art and Design, Cambridge UK, 2000. Cited in this discussion of the significance and the future of drawing as reportage is American illustrator, Robert Weaver: "'To fiction illustration the illustrator should bring the accuracy of journalism, to journalism the drama of fiction, and to editorial illustration the contradictions of reality.'" Includes well illustrated interviews with, among others, Marshall Arisman, Sue Coe and Ronald Searle.

front and back cover, -- image copyright © Sue Coe, 2005.
Coe, Sue and Judith Brody, Sheep of Fools, a Blab! Picto-novelette.
Seattle, Washington: Fantagraphics Books, October 2005






front and back cover -- image copyright © Sue Coe, 2004.
Coe, Sue and Judith Brody, Bully! Master of the Global Merry-go-Round
New York: Four Walls Eight Windows, June 2004

"Welcome to your global fun fair, here at Bully's Big Top!. . . Think of this little book as your guide to the wonders, the fun and profit of the best darned oligopoly since the Romans made 'Empire' a household word."


cover: exhibition catalog. image copyright © Sue Coe

The Pit: The Tragical Tale of the Rise and Fall of a Vivisector and selections from Porkopolis

Gallery of Contemporary Art, Lewis & Clark College, Portland Oregon: 2000


cover: exhibition catalog; image copyright © Sue Coe

Barter, Judith and Anne Mochon PORKOPOLIS: Sue Coe's Jungle

exhibition catalogue, Mead Art Museum, Amherst College, MA: 1993




cover: rough draft copyright © 1999, Sue Coe
Coe, Sue. Pit's Letter,New York: Four Walls Eight Windows, Spring publication, 2000. "Pit, the hapless cainine, describes her desolate life to her only surviving sister; her puppyhood and her human family, her heartless banishment, and finally her suffering and death at the hands of the experimenting scientists at Eden Biotechnology" [translated into human language by Sue Coe]

cover: Pit's Letter. copyright © 2000 Sue Coe.
Editorial Reviews for Pit's Letter:

Like a latter-day Goya, Sue Coe is driven to create moral works, from stark renditions of slaughterhouse brutality to accounts of abused domestic animals and laboratory testing. In Pit's Letter, a hapless canine describes her desolate life to her only surviving sister. She recounts her puppyhood and upbringing in her human family, her heartless banishment, and finally her suffering and death at the hands of the experimenting scientists at Eden Biotechnology. Ironically, her former master winds up in the same situation: an accidental scratching infects him with a pathogen - and man and beast share the same fate.



book cover: copyright © Sue Coe


Coe, Sue, introductory essay by Alexander Cockburn.
Dead Meat, New York: Four Walls Eight Windows, 1995-6.
Reviewed by | Salon | HotWired | San Francisco Bay Guardian by B. Patrick Hughes
Texas Observer by Amanda Toering





monograph cover: image copyright © Sue Coe


Coe, Sue and Mandy Coe.
Meat: Animals and Industry,
Vancouver: Gallerie Women Artists' Monographs, 1991.





"Woman Tied to a Pole," from the exhibition catalog:
image copyright © Sue Coe

Coe, Sue. Police State.

Texts by Mandy Coe, essays by Donald Kuspit and Marilyn Zeitlin.
Richmond: Anderson Gallery, Virginia Commonwealth University, 1987. detail from inside flap





book cover: copyright © Sue Coe


Coe, Sue. X.
Text by Judith Moore.
New York: Raw Books and Graphics, Raw Books One Shot #6, 1986.





Images copyright © Sue Coe; text by Holly Metz


Coe, Sue and Holly Metz. How to Commit Suicide in South Africa.
New York: Raw Books and Graphics, Raw Books One Shot #2, 1983 and London: Knockabout Comics (second printing), 1983.

Selecting the cover image will open the book, which is viewable in its entirety.




Chicago, Judy and Edward Lucie-Smith. Women and Art: Contested Territory, New York: Watson-Guptill Publications. 1999.

Folan, Kerry Kathleen, feature article entitled Sue Coe: The Last 11 Days in conjunction with an exhibition of a series of drawings made by the artist of her mother's last days. Women in the Arts, a publication of the National Museum of Women in the Arts, Washington DC, Holiday 2005

Gettings, Frank. Directions exhibition essay, Washington DC: Hirshhorn Museum and Sculpture Garden, 1994.

Harkavy, Donna and Helaine Posner, co-curators. Culture of Violence, essay for exhibition catalog, University Gallery, University of Massachusetts at Amherst, 2002.

Heller, Steve. Innovators of American Illustration, New York: Van Nostrand Reinhold, 1986.

___________, and Gail Anderson. The Savage Mirror, the art of contemporary caricature, New York: Watson-Guptill Publications, 1992.

Kallir, Jane. Porkopolis -- Animals and Industry exhibition essay, New York: Galerie St. Etienne, 1989.

___________.Political document of a Decade, exhibition essay, New York: Galerie St. Etienne, 1991.

__________. Ship of Fools, exhibition essay, New York: Galerie St. Etienne, 1996.

__________. The Pit: The Tragical Tale of the Rise and Fall of a Vivisector exhibition essay, New York: Galerie St. Etienne, 1999.

Kuspit, Donald. Redeeming Art: Critival Reveries. New York: Allworth Press, 2000. [The essay that forms one chapter in this book was originally published in the catalog accompanying the 1987 exhibition Police State].

Morreau, Jacqueline (editor), forward by Marshall Arisman and introduction by Russell Mills. Paintings and Drawings by Sue Coe. Metuchen NJ and London: The Scarecrow Press, 1985.

Sclauzero, Mariarosa. 10 illustrations by Sue Coe. Narcissism and Death. New York: Green Carnation Press (Verona Italy) 1983; first trade edition, Barrytown NY: Open Book, c. 1984.

exhibition catalog:

image copyright © Sue Coe


Zeitlin, Marilyn, exhibition essay, Heel of the Boot, prints by Sue Coe

Arizona State University Art Museum,
Nelson Fine Arts Center,Tempe AZ: 1996

film & CD-roms

Painted Landscapes of the Times: the art of Sue Coe. Les Productions du Regard; producers Helene Klodawsky and Liette Aubin; Helene Klodawsky, director. New York, NY: First Run Features, 1987. 16 mm; issued also as a video recording. Shows the outrage over political, social and economic injustices seen in artist Sue Coe's expressionistic work, which identifies with the victims of rape, war, vivisection, and protest. Includes a spirited exchange between the artist and a group of students. (Library of Congress catalog no. 759.2 11)

CD-Rom -- Comic Book Confidential Ron Mann, author. Voyager: New York, 1994.
CD-Rom -- Beat Experience Voyager: New York, 1995.
CD-Rom -- Monkey Hell screen saver, Kickstand: New York, 1998.

newspapers and periodicals

anon. art review, The New York Times, Friday, October 13, 1989

staff writer. "Every picture tells a story. The images of Sue Coe" Juxtapoz issue #21, July/August, 1999

Adams, Brooks. "The Coldest Cut: Sue Coe's Porkopolis," Art in America,
January 1990

Blair, Sarah. "Message Art," AOI (Association of Illustrators) November 2002

Brenson, Michael. "Can Political Passion Inspire Great Art?" The New York Times, April 24, 1984

_______________. The New York Times, April 19, 1985

_______________. X, The New York Times, C20, November 14, 1986

Brody, Judith. "Sue Coe and the Press: Speaking Out," FLASHPOINT, 1996

Burchard, Hank. "Capitalizing on Capitalism," The Washington Post, Weekend p. 57, Friday, March 25, 1994

Caniglia, Julie. newyork.sidewalk.com, review of The Pit, March 30-June 5, 1999

Carnegie, M.D. "The Coe War," City Paper, Washington DC, p. 43, April 29, 1994

Cornell, Marly. "Sue Coe: Rebel With Many Causes," The Animals' Agenda, February 1989

Cotter, Holland. "Sue Coe: Witness," Arts Magazine, April 1985

Dorsey, John. "Sue Coe dispenses the strong medicine of polemical art," The Baltimore Sun, p. 1L, Sunday March 21, 1993

____________. "With Sue Coe's art you get the message -- clearly," The Baltimore Sun, Friday, March 26, 1993

Geer, Susan. "Porkopolis: The Nightmare Vision of Sue Coe," Los Angeles Times, Tuesday, July 23, 1991

Gill, Susan. "Sue Coe's Inferno," ARTnews, October 1987

Glueck, Grace. "'The Tragedy of War'," The New York Times, p. B42, Friday December 29, 2000

Hess, Elizabeth. "Sacred Pigs," The Village Voice, p. 103, October 10, 1989

Johnson, Ken. "Sue Coe," The New York Times, p. B35, Friday April 23, 1999

Kuspit, Donald. "Sue Coe: P.P.O.W." exhibition review, Artforum, September 1985

Lawrence, Dianne. "The Coagula Interview: Sue Coe" Coagula Art Journal, May, 1999

Lewis, Joe. book review, How to Commit Suicide in South Africa, Artforum, April 1984

McKenna, Kristine. "Slaughter of the Soul," Los Angeles Times, Sunday, August 4, 1991

Negin, Elliott. "This Little Piggie Went to Market," City Paper, Washington DC, February 16, 1990

Nesbitt, Lois E. "Sue Coe: Galerie St. Etienne," exhibition review, Artforum, January 1990

Princenthal, Nancy. "Sue Coe: P.P.O.W.," exhibition review, ARTnews, September 1985

Richard, Paul. "Painting Herself Into a Corner: The Rich Contradictions of the Raging Leftist, " The Washington Post, D1, Saturday, March 19, 1994

Scala, Mark. "The Dictates of Conscience: An Interview with Sue Coe," New Art Examiner, April 1987

Schjeldahl, Peter. "Dead-End Kids: Gerhard Richter's political masterpiece" The New Yorker, December 11, 2000. Review of the exhibition "Open Ends" at MOMA, Fall 2000. "Sue Coe, the English graphic guerrilla, strangles charm. Her big painting .... Woman Walks Into Bar -- Is Raped by 4 Men on the Pool Table -- While 20 Watch ... compares well with the most lacerating works of George Grosz and Otto Dix. Go ahead and hate it. Explain why it's bad. it will still punch your face in."

Shaw-Eagle, Joanna. "Sue Coe's Show Falls Victim to Victimized Orthodoxy," The Washington Times, C22, March 24, 1994

Sherrill, Martha. "Painting Herself Into a Corner: Sue Coe is'Hot.' Does That Make Her a Hypocrite?" D1, The Washington Post, Saturday, March 19, 1994

Slavick, Elin. "Art <> Activism: An Interview with Sue Coe", MediaReader Quarterly issue #4, May 2001

Smith, Roberta. "The Modern's Trendy Windfall," New York Times, Friday, October 7, 1997

Tallman, Susan. "Sue Coe and the Art of Abuse," Arts Magazine, p. 21-2, April 1989

Vaughn, Susan. "Staying True to a Unique Vision of Art," LA Times: Making It, Sunday April 1, 2001

Woo, Cameron. "conversation: sue coe" (interview), The Bark issue #12, Autumn 2000

Yau, John. "Sue Coe," (interview), Flash Art, May/June 1986

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

Last update: 07 June 2007