Sue Coe

Golub shared Coe's commitment to unflinching political imagery depicting violence, power, and systemic brutality. Both artists used raw, expressionistic figuration to confront state violence and social injustice head on.

Spero combined feminist politics with expressionistic printmaking and drawing to address war, torture, and patriarchal oppression. Her activist graphic sensibility and commitment to social commentary closely mirrors Coe's approach.

Daumier pioneered the use of printmaking and caricature as vehicles for biting political and social satire targeting capitalism and corruption. His darkly expressive graphic work in service of activist causes prefigures Coe's practice directly.

Kollwitz's emotionally devastating prints and drawings depicting working class suffering, war, and grief were a foundational influence on Coe's visual language. Coe has directly cited Kollwitz as a major model for socially engaged printmaking.

Goya's Disasters of War series established a precedent for using graphic imagery to bear witness to atrocity and political violence. Coe draws explicitly on his dark tonal range and willingness to depict horror without sentimentality.

Grosz's savage caricatures of capitalist greed, military power, and bourgeois corruption in Weimar Germany provided Coe with a model for art as direct political weapon. His expressionistic distortion and moral fury are clearly echoed in her work.

Pettibon developed a practice of politically charged ink drawing combined with text that engages capitalism and social dysfunction in ways that show awareness of Coe's activist graphic tradition. His punk informed visual commentary on American culture shares conceptual ground cultivated by Coe's work in the same period.