'"TAR is a tremendous flight of fantasy for those who need to plan a way to escape from this planet or to save it."


2014 April, CHARACTERS


The Iron Maiden

The Art of Linder

by Christina Martinelli

The book Linder: Woman/Object, presents these beautiful works to a broader audience, along with essays and an interview between Morrissey and Linder (longtime hometown friends, quoted from above).  The book features a plethora of full color images, sized slightly smaller than the nearly newsprint pages featuring black-and-white reproductions and essays in English and German. In this way the reader can choose not to read, and approach the work as an artists’ book within a larger catalogue, reading the images first.

















The catalogue too has some of the feeling of punk- the paper, the cloth-tape spine, the typewriter like font, to match the work itself. The art directs you to the text in search of the biographical.


Known to some for her cover design for The Buzzcock’s single Orgasm Addict, and for her leading role in the band Ludus (listen to the Ludus song “Mouthpiece” if you haven’t yet), this book presents a body of work which makes a statement of the obvious: that women are consumable objects, but it goes steps further than your average man-made appropriation of pornography into fine art. Linder successfully communicates the dangerous weight of “women’s roles” on women who are expected to only “play” the part of sex vixen, while also embodying, Janus-like, the roll of the morally and domestically clean.


Now when I see an androgynous name, I assume that it belongs to a woman.


Few men find use in a genderless, or female, name but a woman, specifically an artist, still gains more than she might possibly lose if her work, being good, is assumed to be by a man. A man has a face, a force, and potential and to this day a woman too often has above all... a body.


















In the collages of Linder Sterling, who was reborn during the rise of Manchester punk from Linda Mulvey, subjects of the male gaze (nude women, and homosexual men, sometimes engaged in sexual acts) are both subverted and sexually recharged by the collaging of images of traditionally female desire onto them.


Flowers, ice cream, shiny new refrigerators, forks, knives, irons, and other accoutrements of the domestic sphere obscure the faces, eyes, crotches, and assholes, both hyper decorating the already desirable and making truly anonymous the images already designed to be so. Better so that they are made by a woman with first hand experience of the danger and dirtiness of the gaze and the claustrophobia of the clean.



“ When I was young, everything was

neat and tidy,

except for me.

I have never felt clean inside,

and I never

felt beautiful.”



Linder tells Morrissey:


“Sometimes I glimpse Linder at 80 years old, still screaming…The screaming would only stop if the universe would see fit to remove the layers of overstuffed eiderdowns that I feel have been crushing me since childhood.”

This book helps put Linder’s work further out into the universe, and in doing so helps defeat the overstuffed eiderdowns weighing all of us down.

TAR is the sticky stuff we pave our roads and build our roofs with.

It affords us travel and shelters us from the storm. It is also an anagram of the word art.

The editorial staff have taken every care to obtain from copyright holders the authorization to publish the pictures in this issue. In any cases where this has not been possible, the editorial staff would like to make it known that they are available to eligible parties to settle any amounts that are owed.

Tar Editori S.r.l / Corso Verceli 23, 20144 MILANO - ITALY -

C.F.P.IVA: 05488720961

TAR magazine digital edition  wishes to thanks


effimera F O N D A Z I O N E maison d'art numérique