As a new generation of feminism brewed in the 1980s, it became associated with the colour “shocking pink” - a flourescent, wild colour and a true opposite to pretty, feminine pink. Users and wearers of shocking pink seemed far more angry, and far more inclined to revolt and kick-ass. The feminist girls’ magazine Shocking Pink (c.1990) was true to this ethic. Created by a collective aged 16-25 as a highly-irreverent antidote to magazines centred around boys and make-up ads, it remains a formidable advocate of early girlpower.

But it was the gay community who inherited the colour pink as a more lasting part of their visual culture. It was part of the HIV and AIDS awareness campaigns of the late 1980s, particularly in the form of the pink triangle, symbol of the US organisation ACT UP (AIDS Coalition to Unleash Power) - also very active in the UK. It entered the media world with the launch in 1987 of The Pink Paper, “Britain’s only national news magazine for gay men and lesbians”. From the 1990s on, the “pink pound” has been acknowledged as a substantial economic force. Plus the annual Pride Parade through London in July is usually guaranteed to provide a fantastically playful show of pink, as well as offering an important visual reminder of social change.

More generally speaking, the role of graphics in gay rights has been to soundly reinforce a movement which has never allowed itself to be side-lined. Its “no apology”, no nonsense attitude is shown here in diverse graphic forms: from the professional slickness of an ad for an online community for gays and lesbians, to the robust personal signage (on t-shirts) of Outrage!, the queer rights group. Rejecting the more polite tactics of the mainstream lesbian and gay rights movement, Outrage!  employs radical direct action, such as Kiss-ins, the occupation of premises and other ways of demanding attention.

For further information please contact Alison Moloney.