If you’re looking for a book that captures the raw energy, subversive brilliance, and unapologetic feminism of one of Britain’s most provocative artists, Linder: Danger Came Smiling is it. This stunning volume offers a deep dive into the five-decade career of Linder Sterling, a trailblazer whose work has consistently challenged the boundaries of art, gender, and identity.
Linder first burst onto the scene in the late 1970s as a key figure in the punk and post-punk movements, but her influence extends far beyond music. Over the years, she has become internationally renowned for her striking photomontages, which dissect and disrupt the commercialization of gender norms and sexual identity. Using images culled from late 20th-century magazines, Linder exposes the rigid stereotypes imposed on men and women: cars, DIY manuals, and pornography for men; fashion, domesticity, and beauty standards for women. Her work is a visual rebellion, slicing through the glossy surface of consumer culture to reveal its underlying tensions and contradictions.
What makes Linder’s art so compelling is its fearless exploration of identity and performance. In addition to her use of found imagery, she often incorporates photographs of herself, adopting various feminine personas that blur the lines between reality and invention. Her work is informed by a rich tapestry of influences, from religious art and surrealism to mysticism and the ever-evolving world of social media. The result is a body of work that feels both timeless and urgently contemporary.
This book, a comprehensive guide to Linder’s world, is as multifaceted as the artist herself. It features a foreword by Ralph Rugoff, an introduction by Rachel Thomas, and insightful essays by Chris Kraus and Marina Warner. A new interview with Gilly Fox offers a personal glimpse into Linder’s creative process, while a detailed chronology by Katie Guggenheim traces her evolution from her early days in Manchester to her status as a feminist art icon.
Born in Manchester in 1954, Linder studied Graphic Design at Manchester Polytechnic, where she began to develop her distinctive style. One of her earliest and most iconic works was the cover design for the Buzzcocks’ 1977 single Orgasm Addict—a bold, provocative statement that set the tone for her career. In 1978, she founded the post-punk band Ludus, where she served as the lead vocalist until 1983. Her performances were as unconventional as her art, blending screams, laughter, and unusual sounds with lyrics that tackled female desire, alienation, and sexual politics.
Linder’s photomontages, for which she is best known, are a testament to her DIY ethos and her deep engagement with art history. Drawing on influences ranging from Dadaism and Surrealism to Old Master paintings, she describes her work as “peculiar jigsaws highlighting various cultural monstrosities.” These pieces are both visually arresting and intellectually challenging, forcing viewers to confront the ways in which gender and identity are constructed and commodified.
The book also highlights Linder’s recent work, including her 2020 retrospective Linderism at Kettle’s Yard, which featured the performance piece Bower of Bliss: An Improper Architecture. This performance, co-commissioned with the Women’s Art Collection, further cemented her reputation as a boundary-pushing artist unafraid to tackle complex themes.
Linder: Danger Came Smiling is more than just a retrospective—it’s a celebration of an artist who has spent her career questioning norms, challenging conventions, and redefining what art can be. Whether you’re a longtime fan or new to Linder’s work, this book is an essential addition to your collection. It’s a vivid, thought-provoking journey through the mind of an artist who continues to inspire and provoke, reminding us that art has the power to disrupt, transform, and illuminate.