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Frances Stracey was an original and committed interpreter of the Situationist International, who saw their work not just as art history but as contributing to an ongoing challenge to commodified life, down into our own times. -- McKenzie Wark, author of The Beach Beneath the Street Stracey returns the S.I. to a living tradition of critique and negation in art. It is her work on women in the S.I. and the debate on gender and class, identity and the universal, though, that defines her investigation of the 'situation'. In reinstating the S.I.'s critique of 'bourgeois feminism' to their theory of the situation, she re-complexifies the debates on gender and total revolutionary practice in the group. Overall, then, Stracey's book provides a much needed reassessment of the continuing implications of S.I. cultural thinking for today. -- Professor John Roberts, author of The Art of Interruption: Realism, Photography and the Everyday

Frances Stracey was an original and committed interpreter of the Situationist International, who saw their work not just as art history but as contributing to an ongoing challenge to commodified life, down into our own times. -- McKenzie Wark, author of The Beach Beneath the Street Fuelled by her remarkable insights into the work of the image in an image-culture, Frances Stracey offers a ground-breaking and timely account of Situationist 'situations'. Not only does she restore a place for women as radical subjects within the movement but she fearlessly shows us what is at stake in living such a project now. -- Briony Fer, Professor of Art History, University College London Stracey returns the S.I. to a living tradition of critique and negation in art. It is her work on women in the S.I. and the debate on gender and class, identity and the universal, though, that defines her investigation of the 'situation'. In reinstating the S.I.'s critique of 'bourgeois feminism' to their theory of the situation, she re-complexifies the debates on gender and total revolutionary practice in the group. Overall, then, Stracey's book provides a much needed reassessment of the continuing implications of S.I. cultural thinking for today. -- Professor John Roberts, author of The Art of Interruption: Realism, Photography and the Everyday Challenging the prevalent woolly and dehistoricised readings, Frances Stracey advances a powerful and incisive reconstruction of SI practice. This refreshingly bold account explores art and social reproduction, analyses the role of female members (Bernstein and De Jong) and the rhetoric of the feminine, and reinstates a revolutionary-collectivist impulse to the 'constructed situation'. -- Gail Day is senior lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds and author of Dialectical Passions: Negation in Postwar Art Theory Stracey does not reduce the Situationist movement to a form of art praxis or media theory. She takes the Situtationist's claim to have developed a modern approach to revolution seriously and focuses on the 'construction of situations' as a practical alternative to the spectacle. She addresses the difficult problem of assessing what parts of the Situationist legacy may still inspire contemporary critical cultural forms. -- Anselm Jappe, author of Guy Debord

Tthe most penetrating inquiry into Situationist strategy yet to appear. -- Times Higher Education Frances Stracey was an original and committed interpreter of the Situationist International, who saw their work not just as art history but as contributing to an ongoing challenge to commodified life, down into our own times. -- McKenzie Wark, author of The Beach Beneath the Street Fuelled by her remarkable insights into the work of the image in an image-culture, Frances Stracey offers a ground-breaking and timely account of Situationist 'situations'. Not only does she restore a place for women as radical subjects within the movement but she fearlessly shows us what is at stake in living such a project now. -- Briony Fer, Professor of Art History, University College London Stracey returns the S.I. to a living tradition of critique and negation in art. It is her work on women in the S.I. and the debate on gender and class, identity and the universal, though, that defines her investigation of the 'situation'. In reinstating the S.I.'s critique of 'bourgeois feminism' to their theory of the situation, she re-complexifies the debates on gender and total revolutionary practice in the group. Overall, then, Stracey's book provides a much needed reassessment of the continuing implications of S.I. cultural thinking for today. -- Professor John Roberts, author of The Art of Interruption: Realism, Photography and the Everyday Challenging the prevalent woolly and dehistoricised readings, Frances Stracey advances a powerful and incisive reconstruction of SI practice. This refreshingly bold account explores art and social reproduction, analyses the role of female members (Bernstein and De Jong) and the rhetoric of the feminine, and reinstates a revolutionary-collectivist impulse to the 'constructed situation'. -- Gail Day is senior lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds and author of Dialectical Passions: Negation in Postwar Art Theory Stracey does not reduce the Situationist movement to a form of art praxis or media theory. She takes the Situtationist's claim to have developed a modern approach to revolution seriously and focuses on the 'construction of situations' as a practical alternative to the spectacle. She addresses the difficult problem of assessing what parts of the Situationist legacy may still inspire contemporary critical cultural forms. -- Anselm Jappe, author of Guy Debord

Frances Stracey was an original and committed interpreter of the Situationist International, who saw their work not just as art history but as contributing to an ongoing challenge to commodified life, down into our own times. -- McKenzie Wark, author of The Beach Beneath the Street Stracey returns the S.I. to a living tradition of critique and negation in art. It is her work on women in the S.I. and the debate on gender and class, identity and the universal, though, that defines her investigation of the 'situation'. In reinstating the S.I.'s critique of 'bourgeois feminism' to their theory of the situation, she re-complexifies the debates on gender and total revolutionary practice in the group. Overall, then, Stracey's book provides a much needed reassessment of the continuing implications of S.I. cultural thinking for today. -- Professor John Roberts, author of The Art of Interruption: Realism, Photography and the Everyday Challenging the prevalent woolly and dehistoricised readings, Frances Stracey advances a powerful and incisive reconstruction of SI practice. This refreshingly bold account explores art and social reproduction, analyses the role of female members (Bernstein and De Jong) and the rhetoric of the feminine, and reinstates a revolutionary-collectivist impulse to the 'constructed situation'. -- Gail Day is senior lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds and author of Dialectical Passions: Negation in Postwar Art Theory

Frances Stracey was an original and committed interpreter of the Situationist International, who saw their work not just as art history but as contributing to an ongoing challenge to commodified life, down into our own times. -- McKenzie Wark, author of The Beach Beneath the Street Fuelled by her remarkable insights into the work of the image in an image-culture, Frances Stracey offers a ground-breaking and timely account of Situationist 'situations'. Not only does she restore a place for women as radical subjects within the movement but she fearlessly shows us what is at stake in living such a project now. -- Briony Fer, Professor of Art History, University College London Stracey returns the S.I. to a living tradition of critique and negation in art. It is her work on women in the S.I. and the debate on gender and class, identity and the universal, though, that defines her investigation of the 'situation'. In reinstating the S.I.'s critique of 'bourgeois feminism' to their theory of the situation, she re-complexifies the debates on gender and total revolutionary practice in the group. Overall, then, Stracey's book provides a much needed reassessment of the continuing implications of S.I. cultural thinking for today. -- Professor John Roberts, author of The Art of Interruption: Realism, Photography and the Everyday Challenging the prevalent woolly and dehistoricised readings, Frances Stracey advances a powerful and incisive reconstruction of SI practice. This refreshingly bold account explores art and social reproduction, analyses the role of female members (Bernstein and De Jong) and the rhetoric of the feminine, and reinstates a revolutionary-collectivist impulse to the 'constructed situation'. -- Gail Day is senior lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds and author of Dialectical Passions: Negation in Postwar Art Theory Stracey, moved by a real sympathy for her object, does not reduce the Situationist movement to an art praxis or a media theory. She takes seriously the Situationist's claim to develop a modern approach to revolution, and focuses on the construction of situations as the practical alternative to the spectacle. She analyses often overlooked subjects as women's role in the Situationist history, and discusses the difficult problem of knowing which part of Situationist legacy can be still inspiring for today's critical cultural forms. -- Anselm Jappe, author of Guy Debord

Tthe most penetrating inquiry into Situationist strategy yet to appear. Frances Stracey was an original and committed interpreter of the Situationist International, who saw their work not just as art history but as contributing to an ongoing challenge to commodified life, down into our own times. -- McKenzie Wark, author of The Beach Beneath the Street Fuelled by her remarkable insights into the work of the image in an image-culture, Frances Stracey offers a ground-breaking and timely account of Situationist 'situations'. Not only does she restore a place for women as radical subjects within the movement but she fearlessly shows us what is at stake in living such a project now. -- Briony Fer, Professor of Art History, University College London Stracey returns the S.I. to a living tradition of critique and negation in art. It is her work on women in the S.I. and the debate on gender and class, identity and the universal, though, that defines her investigation of the 'situation'. In reinstating the S.I.'s critique of 'bourgeois feminism' to their theory of the situation, she re-complexifies the debates on gender and total revolutionary practice in the group. Overall, then, Stracey's book provides a much needed reassessment of the continuing implications of S.I. cultural thinking for today. -- Professor John Roberts, author of The Art of Interruption: Realism, Photography and the Everyday Challenging the prevalent woolly and dehistoricised readings, Frances Stracey advances a powerful and incisive reconstruction of SI practice. This refreshingly bold account explores art and social reproduction, analyses the role of female members (Bernstein and De Jong) and the rhetoric of the feminine, and reinstates a revolutionary-collectivist impulse to the 'constructed situation'. -- Gail Day is senior lecturer in the School of Fine Art, History of Art and Cultural Studies at the University of Leeds and author of Dialectical Passions: Negation in Postwar Art Theory Stracey does not reduce the Situationist movement to a form of art praxis or media theory. She takes the Situtationist's claim to have developed a modern approach to revolution seriously and focuses on the 'construction of situations' as a practical alternative to the spectacle. She addresses the difficult problem of assessing what parts of the Situationist legacy may still inspire contemporary critical cultural forms. -- Anselm Jappe, author of Guy Debord

Author Information

Frances Stracey (1963-2009) is the author of Constructed Situations: A New History of the Situationist International (Pluto, 2014). She was Senior Lecturer in the History of Art Department, University College London.

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