Advertising helps fund Big Issue’s mission to end poverty
Art

These feminist posters were radical when first created. Some are still painfully relevant today

A selection of posters from feminist screen printing studio See Red features in the Beyond The Streets exhibition

See Red Women's Workshop posters

The posters were radical. Posters: See Red Women's Workshop

See Red Women’s Workshop was radical when it was founded in 1974.

“A poster is a good way of telling a story and making an impact quickly,” says Anne Robinson, who became a member of the feminist collective in 1978.

Black women rallying against state brutality, a woman trapped inside a pill bottle, a Miss World contestant sitting on the back of a housewife – both exploited by men – were a few of the scenes depicted in the posters created by See Red.

The screen printing studio ran between 1974 and 1990 in London, during which around 40 women got involved, creating posters that challenged sexist images and fought for a fairer world. 

A selection is featured in the Saatchi Gallery’s Beyond the Streets exhibition, alongside Big Issue magazine covers from the last 35 years. It will trace six decades of street culture and its influence. 

See Red started decades before the internet existed. They distributed the posters to bookshops, community centres, women’s centres and through paper catalogues sent in the post.

Advertising helps fund Big Issue’s mission to end poverty
Advertising helps fund Big Issue’s mission to end poverty

“And people would actually buy them,” says Robinson. “They were very cheap. I think the last ones I was involved in were about 90p each. It was very affordable at the time.”

Read more:

The posters in the exhibition were chosen to show “the visual impact of political posters that were on the streets and the range of issues covered”. 

Keep reading the journalism that powers our mission

Register free to continue and learn more about the stories, campaigns and the support we provide, helping people facing poverty across the UK.

“I think the posters vary in terms of how very directly they speak now,” she says. 

There were some which were rooted in a very specific period, such as one about the Greenham Common Women’s Peace Camp or other historical initiatives.

But Robinson suggests that these still can feel “relevant because of current protests and the rules around it, and also situations we’re in now with war and threats of war”.

A 1977 poster, Right on Jane, hits back at a Ladybird children’s book for suggesting that “Peter washes the car and Jane does the dishes”. 

“Part of the value of preserving the legacy of See Red’s work is preserving those histories of things that happened,” Robinson adds.

She believes it’s important not to “lose sight of historical moments and struggles, and how these have developed, and to recognise the things that have changed and not changed”.

“Massively more women go into higher education and training and go on and have jobs. On the other hand, women in manual trades was a campaign at the time, and how many women builders do we see? How many female electricians do we see? Not very many. Equal pay we haven’t achieved yet.”

She says she feels particularly saddened by how relevant the anti-racist posters are today. “We really wish it wasn’t so relevant. We really wish it was a thing of the past,” she says.

There have been some who have tried to use the posters to promote anti-trans narratives, but Robinson says See Red is “absolutely not” anti-trans and has worked to distance itself from that movement.

“Feminism is still relevant, and people can argue about exactly how you can express that, but it’s so important, from equal pay to women’s health issues.”  

“That’s one that’s changed. There’s a poster with a women’s body on it and the reproductive system, and nobody would bat an eyelid now. You would have to be in the heart of redneck America. But at the time, it was a really radical thing.”

See Red Women’s Workshop features in the Beyond the Streets exhibition, showing at Saatchi Gallery, London until 5 May 2027



Do you have a story to tell or opinions to share about this? Get in touch and tell us more. 

Change a vendor’s life.

Buy from your local Big Issue vendor every week – and always take the magazine. It’s how vendors earn with dignity and move forward.

You can also support online:
Subscribe to the magazine or support our work with a monthly gift. Your support helps vendors earn, learn and thrive while strengthening our frontline services.

Thank you for standing with Big Issue vendors.

Advertising helps fund Big Issue’s mission to end poverty

There’s more than one way to make a difference

Big Issue vendors need you more than ever this Christmas.

Recommended for you

View all
Artist Shane Record: 'I paint portraits of people facing homelessness to give them visibility'
Painting of Clive in Folkestone
Art

Artist Shane Record: 'I paint portraits of people facing homelessness to give them visibility'

Mr Skelly artist Christian Watson: 'I had a pretty rough childhood. I felt wronged by the world'
Mr Skelly artwork.
Art

Mr Skelly artist Christian Watson: 'I had a pretty rough childhood. I felt wronged by the world'

See the protest art hitting London's streets to mark Big Issue's 35th birthday
Paste Present Future asked notable protest artists: what is your big issue?
Art

See the protest art hitting London's streets to mark Big Issue's 35th birthday

Artist Philip Colbert: 'There’s a fascism of seriousness'
Thirty giant, surrealist lobsters interact with the Roman ruins at the Archaeological Park of Pompeii
Art

Artist Philip Colbert: 'There’s a fascism of seriousness'