Synopsis
A nationally prominent, politically oriented artist offers an unsparingly critical view of the meat industry in scores of illustrations, documenting the skewing, flaying, dismembering, castrating, debeaking, electrocuting, and decapitating of animals. Simultaneous. IP.
Reviews
Political artist Coe spent years visiting slaughterhouses and meat farms in the U.S., Canada and England, all the while drawing and writing about what she saw. The result is a fascinating and revealing portrait of the institutions behind the meat we eat. Coe's illustrations, which appear regularly in such publications as the New York Times and the New Yorker, have the sharply lined, affecting realism of a Diego Rivera mural. Her first-person account is matter-of-fact, thoughtful and engaging. Coe's book is political, and she clearly hopes it will make readers think twice about what they put into their mouths, but she does not preach and is unafraid to confront her own complicity: "Every dollar I get drips with blood too," she writes. Her empathetic rendering of the workers she encounters is reminiscent of Studs Terkel at his best, and the parallels she draws between society's treatment of meat animals and its working classes are disturbing and convincing. Cockburn's introductory essay traces the history of the meat industry with his customary shrewd sociopolitical insight, but without falling into polemics. Dead Meat will appeal not just to those interested in animal rights, but to anyone who cares about how society functions.
Copyright 1996 Reed Business Information, Inc.
Librarians and others prone to categorization may have difficulty pigeonholing British American political artist Coe, who defies strict definition as either a fine artist or illustrator, painter or printmaker. Her powerful, expressionistic illustrations depicting various progressive subjects, including South Africa, AIDS, and poverty, have appeared in mass-circulation periodicals as well as in major art museums. Here Coe?a vegetarian?tackles the injustices found in the meat industry in a visual and textual update of Upton Sinclair's The Jungle?a culmination of six years of traveling around the country visiting meatpacking plants and slaughterhouses. Radical journalist Alexander Cockburn provides historical context in the introduction; but one wishes for some art historical context as well (Goya and Daumier come immediately to mind). Still, this is essential for illustration and special art libraries; Coe's Paintings and Drawings (Scarecrow, 1985) offers a more varied sampling for general collections.?Heidi Winston, NYPL
Copyright 1996 Reed Business Information, Inc.
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