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Sample Essay - The Feminist Theory applied to Caravgaggio’s Judith Beheading Holofernes:

The second body of work that will be analysed in this study is Judith Beheading Holofernes (1598-1599) by Caravaggio. When one applies the Feminist Methodology to Judith Beheading Holofernes (1598-1599) one firstly analyses the depiction of women in the painting. Judith is wearing white, a colour that represents purity and innocence, however when one looks at the act she is committing, the symbolic nature of Judith’s clothing and the act of ‘beheading’ contrast drastically. During the 16th century, women were seen as the ‘inferior sex’ (Insdorf, 1977), and with Caravaggio’s depiction of Judith, one can see this notion emphasised. ‘Caravaggio’s Judith gracefully recoils from her gruesome task’ (Camara, 2013), as if she is in uncertain in the act she is committing. This concept of ‘uncertainty’ mirrors this idea of Judith (and by extension women as a collective) being ‘inferior’ and pure, so much so that the brave act of Judith beheading Holofernes for the sake of her people is somewhat overshadowed by the look of uncertainty depicted on her face. The feminist theory explores how women are represented and thus ‘how they are affected by dominant (or subversive) gender ideologies’ (D’Alleva 2012). Caravaggio echo’s these ‘gender ideologies’ by depicting Judith with worrisome, furrowed eyebrows, ���drawing back distastefully’ (Caravaggio, 2009) from her slaying of Holofernes, thus making Judith passive in her body language and facial expression, despite the fact she is actively killing someone. Making the murder of Holofernes even more passive in the painting, Caravaggio focuses the majority of the light in the art work on Judith, thus elevating her graceful and delicate features. Due to this, Judith’s appearance becomes the centre piece of the painting as the light ‘reflects off her skin and emphasises her youthful features’ (Haywood, 2015). ‘Caravaggio clearly did not see beautiful women as complex characters, but as beautiful objects he could use to enhance his paintings’ (Haywood, 2015) and thus women become two dimensional characters incapable of depth; everything is surface deep with Caravaggio’s female paintings.

 It should be noted that Judith is an ‘Israel woman’ (Narito, 1992) in the Book of Judith, and thus would have had a dark and olive skin tone. However, in Judith Beheading Holofernes (1598-1599) Caravaggio portrays Judith with pale, white skin, almost as if she were from a western decent. This white-washing and lack on intersectionality by Caravaggio echoes this narrative that ‘light skin shades convey positive traits, such as respectfulness and beauty’ (Maor, 2015). The lack of acknowledgement by Caravaggio of Judith’s Middle Eastern heritage attributes to a greater narrative of white-washing and white privilege in art history. As mentioned previously in this study, the use of the colour white by Caravaggio in Judith’s clothing connotes qualities of purity, beauty and delicateness, and these connotations can also be extended when looking at the white/pale tones of Judith’s skin. This decision to erase Judith’s heritage can be viewed as purposefully done by Caravaggio when one analyses his portrayal of the servant. The servants skin tone is noticeably darker than Judith’s, echoing this notion that she is lower born and below the ‘respectfulness and beauty’ that ‘light skin shades convey’, this only being emphasised by the off-white, beige tones of the servants clothing, as she contrasts Judith’s pure and virginal demeanour.

 However, this concept of women being showcased as ‘inferior’, ‘weak’ and ‘uncertain’ can also be seen as contrasted by Caravaggio’s depiction of Judith’s servant. The older woman’s face is determined and stern, she is certain that the act Judith is committing is the right one, convincing Judith to continue as she clutches the bag ‘in readiness for the disembodied head’ (Caravaggio,2009). The servant in Judith Beheading Holofernes (1598-1599) is painted elderly, with deep wrinkles and a hunched posture, a stark contrast to the pretty and delicate Judith. This raises the question, does a woman have to be unattractive and old in order to be strong, certain and determined? Caravaggio gives the servant ‘a witch-like persona’ (Haywood, 2015), echoing a negative portrayal of Judith’s accomplice. The fact that the servant looks so determined and certain about the slaying of Holofernes only reinforces Judith’s lack of agency in the work, and once again this image of women being ‘inferior’, ‘weak’ and ‘uncertain’ is reinforced by Caravaggio.

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Sample Essay - The Feminist Theory applied to Artemisia Gentileschi’s Judith Slaying Holofernes:

When one examines Judith Slaying Holofernes (1614-20) one can start to understand how Gentileschi’s ‘identity as a woman affects her imagery’. Gentileschi’s catalogue of work centre’s around themes of female empowerment and female strength, and Judith Slaying Holofernes (1614-20) is no different. Gentileschi’s Judith Slaying Holofernes (1614-20) depicts the biblical tale of Judith, a widow who is angry at her fellow countrymen for not putting their faith in God to free their country from the intrusive foreigners. Having gained the foreign generals trust using her sensual and feminine assets, Judith enters his tent with her servant after his excessive drinking has caused him to fall asleep. Judith decapitates him and takes his head away in a basket back to her countrymen, and thus Israel becomes free from its captures. Gentileschi’s decision to choose the story of Judith as her artistic subject matter reflects her personal circumstances and experiences as a woman in the 17th century. Before the creation of Judith Slaying Holofernes (1614-20) Gentileschi was raped by Agostino Tassi, one of her father’s colleagues. Gentileschi took the case to court, which resulted in Tassi’s exile to Rome, although the sentence was never fully carried out and as a result, he evaded punishment.

 The appeal of Judith’s tale to Gentileschi is that ‘for ancient women, Judith’s moving outside the limits of ancient patriarchy must have been a positive characteristic’ (Cornelius, 2009). The fact that Tassi evaded punishment after committing the offence against Gentileschi only echo’s the male power structure that dominated politics, law, and society in 17th Century Rome. This injustice that Gentileschi faced by the patriarchy in the rape trial is regained as justice in her re-telling of Judith Slaying Holofernes (1614-20). Justice is achieved for the people of Israel because of Judith’s actions, whereas Gentileschi’s attempt at justice for herself can be seen as shortcoming due to the lack of consequential punishment for Tassi. Gentileschi achieves her justice through her art, this theory echoed in the fact that ‘Gentileschi drew herself as Judith and Agostino Tassi as Holofernes’ (Stanska, 2016). The book of Judith ‘clearly empowers powerless women to struggle against oppressive regimes’ (Narito, 1992); Gentileschi powerless against the judicial system that wouldn’t enforce Tassi’s criminal punishment (despite him being formally charged with the rape), mirrors this ‘struggle against oppressive regimes’. By painting herself as Judith and Tassi as the Holofernes, the act of beheading becomes symbolic, as ‘Gentileschi, informed by her life experience, is able to reclaim her narrative and put forth an active female heroine’ (Guzman, 2017).  

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Love Is The Message, The Message is Death - Arthur Jafa

For the longest time, I have wanted a piece of art to move me to tears. I’d seen it happen to people in movies, heard my peers detail their emotional experiences in galleries, and even seen fellow museum visitors shed a tear or two, but it was yet to happen to me.

I am no stranger to the power of art. I have had art leave me awestruck, angry and stunned, and thus I strongly believe that art has the power to change the world due to the emotion it evokes. This notion was strengthened when I visited the Love Is The Message, The Message is Death exhibition at Tate Liverpool, a short film by Arthur Jafa. When one enters Tate Liverpool, a banner for the exhibition is the first thing you see as the film is shown on the ground floor. One continues you straight, and then you enter the exhibition. It’s a dark room with two benches, and straight in front of you is a big white screen. You are submerged in complete darkness except for the light coming from the projector above.

Immediately the 7-minute film begins and a middle-aged black man appears on the screen. He speaks into what appears to be a reporters microphone, and one line stands out in his monologue: ‘When a pretty little white girl runs into a black man’s arms, you know something is wrong’.

As Kanye West’s ‘Ultralight Beam’ echoes in the background of the film, a montage of black culture flashes across the screen. Icons like Nina Simone, Biggie Smalls, Angela Davis, and Martin Luther King appear in-between clips of police brutality, house parties and everyday life as a black American. The short film offers an insight into what it has been, and what it is like, to be a black individual in America and the complexities of the culture.

The poignant contrast between clips of young black children being told how to act around police, next to clips of Jimi Hendrix doing his Voodoo Chile guitar solo, demonstrates the highs and the lows of black culture and the black experience. The short film also includes home footage from Jafa’s own life, including clips from his daughter's wedding and his mother dancing, thus making the film more personal and intimate as a narrative.

This was the first art piece to move me to tears. After the first vieweing, I had to go back into the exhibition and view the work a few more times. It left me in awe, made me feel uncomfortable, made my heart drop and angered me all in the same 7-minute sitting. The film encompassed the cultural highs and lows of the black experience by evoking footage that sparked things like the ‘Black Lives Matter Movement’, the Civil Rights Movement and leaders involved in the Black Panther Movement. The work drew parallels between pop culture, politics, domestic life and the injustices that are systematically against people of colour across the world.

If you happen to catch yourself in Liverpool anytime from now to the 12th of May I URGE you to go and see this important, moving and insightful art piece.

I know that I will definitely be going down to Tate Liverpool again to experience this one of a kind film.

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Illuminating the Wilderness - Tate Liverpool:

Recently I and the Liverpool John Moores Art History and Museum Studies course went down to Tate Liverpool to look at the new exhibitions there. We wandered up to the fourth floor and entered into Illuminating the Wilderness, an exhibition focusing on neurodiverse people and the complexities of neurodiversity when in an open and secluded landscape. 

The concept itself I don't have a problem with, if anything I think neurodiversity and art is a notion that should be explored more by art institutions, especially in an art therapy sense. However, there were a few curatorial issues I had a problem with when it came to Illuminating the Wilderness at Tate Liverpool. In the exhibition, there was a half an hour video showcasing people with neurodiversity and the time they spent in the wilderness. It was this documentation, and the way it was presented that didn’t sit right with me. With little to no context, the video highlighted this group of people experiencing life in nature and seclusion. As a viewer, it felt almost felt like these people were put on display, and I was looking in at them as almost a spectacle. I didn’t understand why these people were put into the wilderness, and then just filmed. It almost felt like a zoo, and that they were being filmed for the viewer's entertainment. 

From a viewers perspective, it would have been nice to hear the opinions and thoughts of the group of people that were being filmed. Instead of just watching them through a film, or observing the art they created, it would have been nice for them to be more involved and verbal in the exhibition. The purpose of the exhibition was not cohesive with the curation. It almost segregated people with neurodiverse tendencies and put them on display in an art setting. 

Even if Tate had gone down an art therapy route and had explored how art therapy can help neurodiverse people, would it have been fair to parade this therapy to the public? Is it right for art therapy to be a public performance?

When we talked to one of the Tate staff and asked generally about the exhibition, he mentioned that all the neurodiverse people were longtime friends with the artists and that they openly consented to being a part of the Illuminating the Wilderness exhibition. However, there then is the argument of neurodiverse people being able to give consent to being used in an art exhibition. 

I didn’t hate the exhibition, as mentioned previously I think neurodiversity and art should be a subject explored further by art institutions like Tate, however, Illuminating in the Wilderness was extremely problematic and I personally didn’t like it.

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Controversy and Art:

Controversy and Art have had a long and complex relationship. Some assume that the two go hand in hand, however other’s believe that art should exist without the former. The fine lines that are formed between cultural appropriation, censorship and offence mean that being an artist in the 21st century can be a difficult thing. What makes a work controversial is subjective to the given viewer, and thus the debate about what is ‘appropriate’ art comes to play. As times, culture and society change, so does what is deemed as ‘appropriate’ to exhibit in an art gallery. What once would have been deemed acceptable in the 18th century maybe not been deemed as acceptable in the21st century. This was the case at the Metropolitan Museum of Art with Therese Dreaming (1938) by Balthus. The work depicts a young girl lazily reclining back on a chair, her legs partially spread so her undergarments are slightly on show. However, with the rising momentum of the #MeToo movement, and the rise of justice in terms of people being held accountable for sexual assault, grooming and rape, Therese Dreaming has been deemed by some as glamorizing the sexualisation of children. An online petition directed at the work raised over 11,000 signatures, and thus lead to the painting being viewed as controversial by many. Many people wanted the artwork to be taken down because of its somewhat sexual nature, however, the MET noted ‘if we remove the Balthus because it offends in the current climate, we pretty much have to remove whole wings of art from Met’. 

This notion echoes the concept of all art being subjective to who it offends. However, when a large majority of people collectively believe an artwork to be offensive, is this when we draw the line at something being controversial? Is there strength in numbers?

The Met also stated that the controversy surrounding Therese Dreaming was ‘an opportunity for a conversation about the continuing evolution of existing culture’ to be discussed. It gives us as the viewer an opportunity to ask questions: Why do we as the viewer see Therese Dreaming as offensive now? What has changed in societal culture for Therese Dreaming to be deemed as inappropriate now? In the age of the #MeToo movement, is keeping Therese Dreaming up at the Met insensitive to victims of childhood sexual abuse?

The conversation is ever-changing, and who knows wither leaving Therese Dreaming at the Met was the right thing to do. However, the important thing is that there is a conversation in the first place. Without discussing the complexities within the culture of ‘controversial’ art than artists, curators and gallery goers alike will never learn from each other and thus we will never be able to move forward in the creation and exhibition of art.

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John Willie:

My current obsession is with the fetish photographer and illustrator John Willie. Willie gained prominence in the 1940′s and 1950′s when he released his fetish magazine Bizarre. Fetish magazines were all the rage during the 1940′s and tended to focus on the erotic rather than the pornographic. Erotica during WW2 was used as a device to boost morale amongst the comrades and overall changed what it meant for a woman to be sexual and feminine. After the war, the magazine was distributed underground, but despite erotica still being seen as somewhat taboo, the work of John Willie and Bizarre magazine helped shaped the world of erotica and influence future pin-ups like Bettie Page.

Willie’s most famous character in his illustrations and the magazines is that of ‘Sweet Gwendoline’, who is often the protagonist in many on the erotic scenarios. Bizzare magazine also featured photographs of Willie’s wife and fan letters from avid followers of the publication. As well as the magazine featuring Willie’s drawings, it also explores themes of bondage, fetishisation, high heels, transvestism and corsets. 

Despite the fact many publications similar to Bizarre were banned and censored during the 1940′s, Willie successfully avoided this by carefully tiptoeing around themes of nudity, sodomy and homosexuality. 

‘Unless a model is a good actress, and has 'that type' of face, it's difficult for her to look sad and miserable when working for me. My studio is a pretty cheerful place, and quite unlike the atmosphere that surrounds Gwendoline when the Countess gets hold of her’ John Willie

Here are a few of my favourite John Willie illustrations.

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Art and Brexit:

In the wake of MP’s having rejected Theresa May’s Brexit deal twice, and the fact they have now voted for a delay in the process, I thought it would be interesting to see the ways in which art has been used to express the British public’s views on Brexit.

This Way Up (2019) Mark Wallinger 

The previous Turner Prize winner Mark Wallinger is making his ‘mark’ on Brexit by plastering the UK in billboards and posters showcasing the MP’s face with the words of Gerrard Winstanley accompanying. Gerrard Winstanley was the founder of the True Levellers a group formed in the English Civil War. Wallinger’s poster is in support of the no-Brexit campaign and to emphasises this view further there will be a ‘World Turned Upside Down’ (2019) sculpture erected in London that will be unveiled on the 26th of March.

Brexshit (2019) Micael Landy

‘Brexshit’ - probably the most used phrase amongst the British public when referring to Brexit. Considering the decision to leave the EU was determined in 2016 and almost 2 and a half years on the UK is still left in a state of will-we-wont-we limbo is historic. Deemed as the campaign that ruined everything, ‘Brexshi’t was first coined a year into negotiations when the cracks started to appear in terms on the stability of Britain's parliament and how they were going to handle this critical decision.

As the metaphorical Brexit clock ticks, UK art galleries start to take precaution for what might happen in the future. Could the shipping of art from one location to another rise? Will relationships between UK galleries and Europian galleries now be strained? As ArtReview notes, ‘it won't have escaped anyone’s notice as the political events in the UK have unfolded over the past year, the arts sector has become pessimistic and anxious about the future’. The use of the adjective ‘pessimistic’  couldn’t have come at a more prevalent time as on the 23rd of March, the people's march took place in London, over 1 million people showing up to protest their rightful pessimistic attitudes towards Brexit.

Here are some of the posters seen at the historic march:

If there is one thing the British people can be commended for, it is their sense of humour. 

The British public’s ability to turn a stressful, draining, politically overbearing situation into satire art epitomizes the way politics and art go hand in hand. Politics would not be the same without art, and art would not be the same without politics.

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Florence Given:

An upcoming artist who has recently caught my attention is that of Florence Given.

Florence Given first came to my attention last year when my brother introduced to me to her work on instagram. My brother met her through LCF and went to her exhibition at the ‘Nasty Woman’ Art Gallery in London and texted me a few of her art pieces, since then I have been following her work as both an activist and an artist. As an intersectional feminist, Given uses her platform to pass the mic and allows women of different races, classes, sexual orientation, gender and identification so that their issues can be heard. Her art is very inclusive and represents many different demographics, thus making her art relatable to any ‘Given’ woman. Given’s art promotes sayings like ‘You have the right to withdraw consent’ and ‘Life is too short not to love the shit out of yourself’. Her work is very empowering to the modern day woman and her instagram offers a space and a platform for women to enjoy being women.

Her latest trend is her work promoting the phrase ‘DUMP HIM’, in which she encourages women to love themselves and get out of toxic and manipulative relationships. This all started when Given broke up with her own boyfriend, and thus she started encouraging other women to put first self care and get out of relationships that are not healthy.

My favourite piece by Given is the one pictured above - it states ‘Cheers to being a woman! It’s fucking shit but I wouldn’t have it any other way’. I feel like the sentiment is very prevalent in every woman’s life, wither you are a black woman, a trans woman, a queer woman, a disabled women, an intersex woman; we all know that the system can feel like its against us and that we are fighting a losing battle, however ‘I wouldn’t have it any other way!’

Given is also very supportive of the LGBTQ+ community, identifying as queer herself and uses her platform as supportive and educational space.

She also sells totes, t-shirts and prints with her art printed on them, the link to her shop can be found on her instagram : @florencegiven

If you have time check out her work - I promise you won't regret it!

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The Reluctant Bride. 1866. Auguste Toulmouche

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209 Women Exhibition:

Recently, I and a group of friends went down to the Open Eye Gallery in Liverpool to see the opening of the 209 Women Exhibition. The exhibition was created to celebrate the 100 year anniversary of when women got the vote. It aimed to highlight and showcase the journey that women as a collective have had in terms of political representation. The exhibition celebrates each individual woman standing in parliament through their own unique portrait, all of which are shot by photographers and artists who identify as female. 209 Women emphasises the past of the female narrative in UK politics, but also emphasises the future surrounding female politicians and how we still have a long way to go to reach equality in all walks of life.

Walking around the exhibition, I very much enjoyed the curatorial decision to hang the portraits in almost salon style fashion. It could be said that it created a narrative about the male-dominated, patriarchal institutions that used to revel in the salon style of hanging, however, now it is women who are the subject, artist and theme, only making the exhibition that much more powerful. I very much enjoyed the diversity of the 209 Women, with each region of the UK varying in its political representation. The portraits ranged from women of all races and backgrounds, making the photographs relatable and true in their representation of women all across the UK.

What I also found compelling about the exhibition was the variation in portrait style as no two portraits were the same. As a viewer of the portraits, one could tell the personal touches each MP had included in how they wanted to be represented. Many of the photographs included personal style, items and locations in coherence with each woman's interests and life.

It was fun as well to find the MP that represented your home city and to see how they were represented and how they were posing.

In some ways, I did find the exhibition misleading. The exhibition was created to celebrate the 100 year anniversary since women got the vote through the portraiture of the UK’s current female MP’s. However, it is only the 100 year anniversary since white women, who were over 30, who owned land, got the vote. Asian women didn’t get the vote until 1952 and black women didn’t get the vote until 1964. By claiming that ‘women’ got the vote 100 years ago promotes the narrative that every woman’s struggle was the same, which is simply not the case.  

I also questioned the mention of Margaret Thatcher in the female achievements timeline. In each room of the gallery, there was a continued timeline of the achievements of women and when they were accomplished. Of course in 1979 Margaret Thater became the first female Prime Minister, however, does that mean she deserves to be credited? It would be an understatement to say that Miss Thatcher’s time as PM was controversial, and it’s rare to find someone that remembers her time in power for the good things. This resentment towards Maggie is especially prevalent in the North, echoed by the fact that even in 2019 you can still find ‘We Still Hate Thatcher’ stickers dotted around the Liverpool city. 

People don’t like Thatcher for many reasons, but just to name a few:

- She destroyed Britain's manufacturing industry and her policies led to mass unemployment

- She abolished free milk for School Children

- She precipitated a Social Housing crisis that is still being felt today

- She put forward the Poll tax that moved the burden of tax from the rich to the poor, hitting the majority of large families living in relatively small accommodation and thus was hated by the working class

-She supported Section 28 that believed that homosexuality should not be promoted in any circumstance 

In light of all this, you can’t help but question if putting her in the timeline was a good idea. Yes, she was the first female Prime Minister, but does her sex outweigh the homophobic, classist, hardship she caused during her time as Prime Minister? Does the fact that she was the first female Prime Minister mean that all accountability is lost? Is Margaret Thatcher really an asset to the legacy of women in UK parliament?

Overall I very much enjoyed the 209 Women exhibition at the Open Eye Gallery. It was empowering to see so many beautiful, intelligent, diverse and hardworking women displayed all together in an intimate gallery space. 

If you get the chance to go and see the exhibition, I highly recommend.

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Leonardo da Vinci: A Life in Drawing

Marking the 500th anniversary since the death of Leonardo da Vinci, the renowned Renaissance painter’s work will be exhibited in various locations across the UK to celebrate the master's life and the works he produced. 

I recently went down to the Walker Art Gallery in Liverpool to see the da Vinci works they hard on display there as part of the anniversary; to say I was in awe would be an understatement. First of all, I would like to comment on the fact that all the da Vinci displays organized by the Royal Collection Trust are free entry. The fact that these great works are free to see nationwide, gives da Vinci’s work an element of accessibility seldom seen before. When the average person thinks of Leonardo da Vinci, images of the Mona Lisa and The Last Supper spring to mind, works that will very rarely be seen outside of their respective homes. However, the fact that da Vinci’s work is now free to see nationwide to UK residents opens thus allows his work to reach people of all backgrounds and social classes.

Upon entering the exhibit at the Walker Art Gallery, the first thing I noticed was how full of people it was. This wasn’t a shock to me however, because when one considers the reputation da Vinci holds as master of the Renaissance, his exhibited works are bound to cause a buzz. As a student of art history at Liverpool John Moores, a course that never has above 20 students each academic year, it warmed my heart to see so many people at the exhibition because it reaffirmed my belief that people still care about art. Although full, the artworks displayed weren't hard to see as they were all curated at eye level, and the constant flow of people meant that there was never more than 4 people viewing artwork at a time. The Walker’s da Vinci display consisted of his drawings, my personal favorite being The head of Leda (1505-8). To be able to actually go up to these displayed drawings and get close and personal with da Vinic’s work was breathtaking, especially from the perspective of someone who has never had the opportunity to any of da Vinic’s work in person before.

The nationwide exhibitions are open until May, so if you have a spare moment I highly recommend going to see Da Vinci’s work, as this really is a once in a lifetime experience.

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French Chris at the Drive-in, NJ, Photo by Nan Goldin, 1979

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Angelica Kauffman, Self-portrait detail, ca. 1770-5

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Arthur Hacker - The Cloud (1902)

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‘Transfigure’ - Tate Symposiums - Part 2

The third session to commence was Behind the Screen: Film and Art History. For this session, Lauren Caley discussed the Historical Symbolism on Film and the complex depths of J.R.R Tolkien's artistic vision in order to explore the biographical and social-historical platform of his works. Caley highlighted the impact of WW1, trench fever, and life in the battlefield on the creation of the Lord of the Ring’s books and the artistic imagery that accompany’s it. The paper considers’s the various parallels between the ‘Battle of Middle Earth’ and the Great War and this being echoed in the visuals Tolkien uses for his stories. Tolkien's inspiration was drawn from how mankind is powerless to the forces of nature, the claustrophobic environment that accompanies’s war, and the horrific visuals that are echoed in battle. Caley explored the mechanization of humanity and how this was emphasized in the watercolor artwork that depicted middle earth by Tolkien. Overall I really enjoyed the way, Caley showcased the depiction of the past events impacting modern day cinema, comparing the Interpretation of Peter Jackson’s Middle Earth with G.R.R Martin’s A Game of Thrones and the parallels they create by using iconography and mythology to represent reality.

Carrying on the theme of Film and Art in History, Sadie Curtis investigates the concept of Godzilla being a Visual Metaphor. The Symposium explored the concept of Godzilla being a nuclear allegory and how it highlights the fear of nuclear destruction rooted in Japanese culture. Curtis’s paper discussed the various depictions of Gojira, from the monster being a mutation from post-war nuclear destruction to it being a survivor of the pre-historic period. Curtis highlighted how with the Americanised characterization of Godzilla the metaphor loses many of its subtextual elements and that this almost acts as a distancing technique from the true meaning of the fictitious beast. Overall the symposium researched the Japanese people’s response to the devastation caused by the atomic bombs dropped in 1945 and the consequent censorship that not only helped build create the monster but also destroyed it. Overall I very much enjoyed Curtis’s paper as it educated my previously ignorant knowledge of the context behind Godzilla and it’s social-historical implications.

The final installment in the Film and Art in History segment was a paper called Zack Synder: Art on Screen by Lesley White. White examined the medium of film as a unique form of art whilst simultaneously being a distinct leisure activity.  White analyzed parallels between the religious imagery in classical historical paintings and films like Batman vs Superman: Dawn of Justice. The symposium delved into the visual and metaphorical image of a modern-day messiah in Synder’s cinematography and the use of light and composition in achieving this mirroring effect. Overall the argument was well structured and informed me on the idea of motifs in at repeating themselves throughout different mediums, wither that be film, oil painting or sculpture.

The final session in the ‘Trnasfigure’ Symposiums was ‘Oh! You Pretty Things: Art, Pop, and Style. The first paper was 15 minutes of Warhol: Film and The Factory. Upon reading the name of this session in the introductory pamphlet it immediately caught my attention because I recognized the title as one of my favorite David Bowie songs. Continuing this theme of 70′s pop culture, James Taylor explored the mass-produced imitation of products and the notion of film from an artists perspective. White discussed the social relevance of the subcultural hun ‘The Factory’. White highlighted Warhol's incorporation of music with art with the re-invention of the ‘band’ with Lou Reed, Nico, and the Velvet Underground. White emphasized Warhol’s lesser-known cinematic pieces like Kitchen (1966) and Outer and Inner Space (1965) and the subjective definition of what a film actually is. Overall I enjoyed the way the paper investigated the inventive and equally mundane approach to the medium of film and the commercial aspects to the work, so much so that I went home and watch Warhol’s independent films and observe Warhol’ strange yet strategic way of directing.

The final symposium was coined SW3: Art and the King’s Road by Felicity Grant. Grant explored the anatomy of roads as an art form and how they influenced the style of fashion between the 1960s and the 1990′s. Grant discussed the parallels between art history and pop culture in the notorious London location, including the cult shop SEX by Viviene Westwood and the coinciding art by David Hockney. I liked the way Grant investigated the history of the location and its origin as both an immersive and culturally rich artistic center.

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‘Transfigure’- Tate Symposiums

As a mandatory requirement for my first year of History of Art and Museum studies, myself and my peers were taken to Tate Liverpool in order to watch and listen to the 3rd Years Symposiums.

The Symposium by the BA (Hons) History of Art Students consisted on 4 sessions: Environmental Art: The Urban and Global Shift, Art in Prison, Behind the Screen: Film and Art History and Oh! You Pretty Things: Art, Pop, and Style, in which each student elevated the form of ‘Transfigure’ to a new level whilst simultaneously demonstrating their unique approaches to the practice.

The first session coined ‘Enviormental Art: The Urban and Global Shift’  discussed art as a stimulant that merges artistic practice with activism for change. It delved into the various ways in which art and the global, urban environment could become one.

The first student to highlight this theory was Susan Davis, her symposium centering around the idea of communicating climate change through participatory art. Davis explored the complex relationship between artists and scientists and how art can show an awareness of global environmental issues. Davis discussed a shared frustration between artist and scientists with the lack of visual engagement by the general public in environmental issues like climate change and the melting icecaps. One artist who attempted engage people’s interest in science through the medium of art was Olafur Eliasson. Davis explores his art piece ‘Ice Watch’ in which 12 blocks of ice were placed in Paris, their melting form as times passed acting as an interactive symbol for the melting ice caps and global warming. Overall I found Davis’ paper very interesting and it’s encouraged me to research further into how art can be used as a catalyst in order to try and help save the planet.

The second symposium falling under the session ‘Enviromental Art: The Urban and Global Shift’ was Carl Bellingrod: The Biggest Railway Friend from Wuppertal by Jennifer George. In her symposium, George discussed the famous German railway photographers who recorded various railway systems and their locomotives. George investigated the technique of working with heavy plate cameras whilst simultaneously traveling long-haul journeys in order to capture the beauty of trains in their natural environment. Overall I found George’s exploration of the environmental space of the railway scenes as artwork highly thought-provoking; the perspective of Bellingrod offering a sense of freedom and wilderness to locomotives through his complex photography.

After a short break, the second session Art in Prison commenced and the first student to speak was Lucy McIntyre, her paper being on Money and Murderabilia: An Exploration of Art and Crime. Out of all the symposiums I listened to in the Tate Auditorium Mcintyres was by far my favorite as I too share an interest in true crime and ‘notorious’ killers. McIntyre highlighted the inner workings of the general public’s fascination with Murderabilia (items, artifacts, and objects that onced belong to famous criminals or are associated with the crimes they committed). Mcintyre debated the idea of the artist versus art, thus echoing the question, can one separate the art from it’s given artists? Mcintyre highlighted this argument in the case of John Wayne Gacey, a convicted murderer, child abuser and rapist who ended up selling his art for quite a considerable amount of money while he waiting on death row. Mcintyre emphasized the ethical problems surrounding Murderabilia market and the censorship that surrounds certain artworks that fall into this category. Overall I very much enjoyed Mcintyre's paper as it raised questions in terms of accused criminals (Like Gacey and Caravaggio) being able to separate themselves from their crimes for art sake. Should criminals be known as offenders first and artists second, or vice versa?

Continuing the session of Art in Prison was Callum Craddock with his symposium talk on Symbols of the Historical: An Analysis of the tattoo Art found on Prisoners. Craddock discussed the hierarchical nature of tattoos in institutions and the idea of the human skin being the equivalent of a blank canvas and thus a material in creating art. The symbolism and iconography of tattooing were highlighted in Craddock's paper as he showcased the correlation between prison ink and some of the most famous historical paintings. The overall purpose of Caddocks symposium was to explore the concept of tattoo’s being accepted as the new medium of contemporary art, an innovative way to express one's beliefs and ideologies through the mediums of skin and ink. I found Caddocks paper very thought provoking and I liked the way he addressed possible curatorial and exhibition problems with displaying tattoo’s if tattooing was to be considered properly as contemporary art. By addressing contextually the idea of tattoo’s in an art gallery Caddock opened up the possibility of the art world liberating tattoo’s from their stigma of criminal association.