- Sue Coe's "The Animals' Thanksgiving," reproduced in the Phaidon Press publication "Animal: Exploring the Zoological World " (2018)
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Sue Coe in her studio, holding her woodcut "Abolition: Meat Free Every Day."
Image of Photograph of Sue Coe in her upstate New York studio, holding her woodcut "Abolition"
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Billboard of Coe’s “We are Many, They are Few” in Brooklyn, installed as part of the “Ministry of Truth: 1984/2020” project
Image of Photograph of the billboard installed at the intersection of Morgan Avenue and Harrison Place in Brooklyn, NY, featuring Coe's work "We Are Many. They Are Few." The image shows a policeman with a raised baton towering over hundreds of protesters
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"Woman Walks into Bar - Is Raped by Four Men on the Pool Table - While 20 Watch" 1983
Image of Woman Walks into Bar - Is Raped by Four Men on the Pool Table - While 20 Watch, 1983. Mixed media and collage. 7' 7 5/8" x 9' 5 1/4" (232.7 x 287.7 cm)
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"Vigilante" 1985
Image of Expressionist-style paint and collage by Sue Coe drawing depicting the 1984 Bernard Goetz shooting of four young men in the New York City subway
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"Baboon Heart Transplant" 1985
Image of Painting by Sue Coe showing doctors transplanting a baboon heart into a human body
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"What a Golden Beak!" 1999
Image of Etching by Sue Coe showing a mass of people holding up puppets of a bird, a bat and a human, illustrating the hunger for war
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"Pleas[e] Help Us" 2006
Image of Image of Coe's "Pleas[e] Help Us," featuring an artistic rendering of the destruction wrought by Hurricane Katrina. Humans, animals, trees and houses are caught up in the floodwaters.
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Coe in 2010 at Farm Sanctuary, the upstate New York home for rescued animals
Image of Photograph of Sue Coe drawing one of the pigs that lives at Farm Sanctuary
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The artist at the opening of her 2012 exhibition “Sue Coe: Mad as Hell” at Galerie St. Etienne in New York
Image of Photograph of Sue Coe talking to the crowd during the opening of her exhibition "Mad as Hell," Galerie St. Etienne, New York, 2012
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Coe was visiting artist at the University of Minnesota Print Workshop in fall of 2016
Image of Photograph of the artist with students and fellow printmakers posing around a collaborative linocut project based on the upcoming presidential election at a printmaking workshop at the University of Minnesota, October 2016
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World War I and Contemporary Art: A conversation with artists Sue Coe, Suzanne McClelland, and James Siena, Moderated by Robert Storr. The Metropolitan Museum of Art, New York, NY (December 10, 2017)
Image of Photograph of artists Sue Coe, Suzanne McClelland and James Siena on stage at the Met Museum's panel, held in conjunction with the exhibition "World War I and Contemporary Art," December 11, 2017. Enlarged reproductions of Coe's works "It Can Happen Here"
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“Go Vegetarian!” commissioned by Mass MOCA for the museum’s 1998 “Art on the Road” billboard exhibition
Image of Photograph of Sue Coe sitting under her billboard, a mural of "Go Vegetarian" on the side of a building
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The poster exhibition “Tolerance” in South Africa in 2018, featuring Coe’s “Tolerance: Friends not Food”
Image of Photograph of Sue Coe's piece "Friends Not Food," at the Tolerance Exhibition in South Africa, March 6, 2018
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Printing block for the cover illustration on the 2017 book “The Animals’ Vegan Manifesto”
Image of Woodblock of a Sue Coe print surrounded by little plastic animal models
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Printing block for the 2016 work “Rescued (Safe at Last)”
Image of Photograph of the in-process linocut "Rescued (Safe at Last)," 2016
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American Fascism, Still!, 2022
Image of Sue Coe and Stephen F. Eisenman, "American Fascism, Still!" published by Rotland Press, 2022 features Coe's 2021 linocut "Failed IQ"
- New drawings in the studio!
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“The greatest living practitioner of confrontational, revolutionary art”
—Critic Donald Kuspit
“Sue Coe is a formidable rhetorician who creates images and phrases sharp as scalpels”
—Nancy Princenthal in ARTnews
"Ms. Coe has been prescient about a lot of things in her searing social-political art. Her work can feel like a punch in the face or a call to action — or both"
—Hilarie M. Sheets in the New York Times
"The muckraking painter Sue Coe sees people's inhumanity to animals as but a prelude to their inhumanity to one another"
—Critic Roberta Smith in the New York Times
“An artist who refuses to avoid painful issues and is relentlessly engaged in policing the state”
—Linda F. McGreevy in Arts Magazine
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Currently on View
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WAITING FOR THE OTHER SHOE TO DROP
An online exhibition of recent workWaiting for the Other Shoe to Drop surveys work—mostly linocuts and woodcuts—done by Sue Coe since the 2020 election. The exhibition’s title comes from a print dating to December of that year: a time when many were buoyed by Joe Biden’s victory, yet wary that it would not be so easy to reunite a nation still suffering from the trauma of the Trump years and the Covid pandemic.
Although the subjects addressed in Waiting for the Other Shoe to Drop are grim, Coe’s outlook is optimistic. She first began making linocuts as handouts to be given away at demonstrations. “Prints can be both activist tools and an affordable commodity,” she explains. “That’s why I love them so. They aren’t worth much, except for the ideas that can create change and live on. Art is my way of communicating that the viewer has the power to effect change. The hard right manufactures humans as if they were factory-farmed animals. The most profitable human is the one who consumes, and is consumed, without empathy. The art happens when the viewer makes the choice not to collaborate with those who are destroying life.”
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Artist's Statement
IF ANIMALS BELIEVED IN GOD THE DEVIL WOULD LOOK LIKE A HUMAN BEING.Animal Liberation is a gloBal social justice movement to resist the genocide of the gentle. Like any other social justice movement in history, where an oppressed group struggles for justice, activists are mocked and demeaned. Non-human animals are legal chattel property, they are an oppressed class. Yet they know the injustice of a slaughterhouse. They run and fly from the sound of guns, bite their legs off to escape from traps and chains, gasp to escape the nets and hooks. They Go mad in laboratories.
ART DEPICTING ANIMALS IS TRIVIALIZED, BECAUSE ANIMALS ARE CONSIDERED TRIVIAL. ANIMALS BELONG TO THEMSELVES, THEY ARE NOT HUMAN PROPERTY IN ANY WORLD THAT VALUES MORALITY. ALL THEY OWN ARE THEIR BODIES, WHICH ARE VIOLENTLY STOLEN FROM THEM. HUMANS BREED ANIMALS, ONLY TO MURDER THEM. THERE ARE VERY FEW PLACES ON PLANET EARTH, WHERE HUMANS NEED TO KILL ANIMALS TO SURVIVE AND NOWHERE SAFE FOR ANIMALS TO LIVE OUT THEIR LIVES IN PEACE.
—Sue Coe
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