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Zanele Muholi

At the age of 19, Muholi attended a course at the Market Photo Workshop by famed photographer David Goldblatt to provide training and skills to young and economically marginalised photographers. They were already deeply involved in local LGBTQIA+ activism and women’s organisations and began transforming themselves from a journalist and human rights activist into an artist and visual activist. From the early 2000s, they had documented and celebrated the lives of South Africa’s black lesbian, gay, trans, queer and intersex communities. Having held their first exhibition ‘Visual Sexuality’ at Johannesburg Art Gallery in 2004 and has since had numerous successful solo exhibitions in South Africa and around the world. In 2009, there photographs became the focus of a national debate about homophobia, freedom of expression and same-sex rights. After the South African Mister of Culture walked out their exhibition and claimed in to be ‘immoral’, ‘offensive’ and ‘against nation-building’. Today they still fight the prejudices surrounding the community in an attempt to normalise their existence and decrease crimes committed against them.  

Within their photographic career Muholi turns the camera on themselves in the ongoing series Somnyama Ngonyama- translated as ’Hail the Dark Lioness’. These works take a more autobiographical and diaristic approach. Muholi claimed that the entire series relates to the concept of MaID (My Identity) or if read differently ‘maid’, a quotidian and demeaning name given to all subservient black women in South Africa. In ‘Somnyama IV, Oslo’ we see the artist unclothed looking directly at the viewer. With no elaborate backgrounds, complicated poses or utmost expressions the photograph is elegant and simple. With a prideful and regal position, their captivating gaze holds the viewer. Their bareness isn’t fragile or weak, but rather bold and confrontational. While their distinct hair fills the frame, shaping around their face adding to the sharp expression. The photograph is one of many presenting their placement in different locations. Spaces where they wake up, breath, connect, convince and conflict with forces who are against them. The black and white self-portraits are powerful and reflective of themes such as labour, racism, Eurocentrism and sexual politics. While confronting the politics of race and representation, Muholi created 365 self-portraits. Each responding to different physical environments, histories and personal experiences. They explained how their time photographing others and their experience was not allowing for time to process their own pain and trauma. Being in front of the camera wasn’t difficult because they weren’t looking for something beautiful or ugly and rather capturing an experience they faced or went through. Using this creative outlet allowed them to both honour their ancestry, as well as create time to process painful memories.

The concept of activism has shifted and altered numerous times creating many different approaches, one of the being the use of art. It’s social relevance and effectiveness allows for a sense of empathy which in turn can bring social justice. Social and environmental crises make art-based activism especially relevant today, as the human mind is keenly susceptible to the persuasive power of images. In our ever-changing culture, people are becoming aware not only of the problems we face, but of the beginnings of solutions. As the need to develop sensitivity to things that haven ignored or discarded in our social structures becomes more and more apparent, people are beginning to open their minds to different ways of interacting with each other and their surroundings. As well as new ways of defining our activities and their purposes. The aim of art unlike other approaches isn’t to legislate or to reign supreme, but rather to understand. The willingness to try and understand, is of assistance when it comes to attaining balance in any kind of interaction, whether it be between one person and another, one society and another or a civilization its environment. If we are to attempt to work outside of unbalanced hierarchies and authoritarian conversations, then a sense of understanding of the ‘other’ is integral in being able to see the unbalance of treatment. As a still emerging voice in a contested and problematic cultural landscape, Muholi has turned to radical forms of visual presentation to depict their experiences of counternomativity. Bringing distinct and invisible existences into the light of public engagement, in terms of both their sexual orientation and their gender identity thereby challenging social norms of two fronts. Muholi engages with South Africa’s complex cultural and political landscapes by reimagining ethnographic photography all together. Contending the struggle for political and social freedom (in both theory and practise) for queer subjects cannot be forgotten or removed from the national agenda, by being critical of self-reflection to actively create new histories of queer being. Falling into the gaps of the dominant collective political vision are the very works of queer visual activism, arguing for the struggle of freedom and the ever-importance of this fight. By normalising their occupation in spaces such as the Tate Muholi is able to further advocate for LGBTQIA+ policies and the structure which must be placed to help keep safe the innocent community.  

Till next time, yours truly. 

[zoebulukaki]

Fast Fashion

The fashion industry has undergone profound transformation due to various changes in the business environment. (Bhardwaj, 2010) In order to fully understand the impact fast fashion has today, we must look back to the way this business used to conduct itself and how methods have shifted to meet a higher marketing demand.

For many decades the success in the fashion industry was based on low cost mass production of standardized styles that did not change frequently. Shopping on the Highstreet wasn’t about fashion, individuals weren’t as sensitive to what trends where ‘in’ and what trend where ‘out’. Needing up to a year for designs to be developed and distributed in stores, there were only a winter and a summer collection. As consumers became more fashion conscious, it reduced the demand for classic and simple wear and pushed towards a higher demand in new styles and ideas. The changing dynamic of the fashion industry, such as the fading of mass production, increase in number of fashion seasons and modified structural characteristics in the supply chain have forced retailers to desire low cost and flexibility in design, quality and speed. All key strategies to maintain profitable position in the increasingly demanding market. 

While all of the factors contributing to the success of fast fashion may seem positive, as consumers can purchase products which are trendy, yet affordable fast fashion holds a great secret. Studies have shown that the Fashion industry is in fact the second highest polluter coming after fossil fuel use. Through various factors which we will cover today, fast fashion has affected the environment in a catastrophic way and can be extremely unethical towards the workers producing the garments. Although recent developments have seen consumers being more aware of their carbon footprint many still don’t know just how impactful fashion really is. It has been estimated that there are 20 new garments manufactured per person per year and we are buying 60 percent more than we were in 2000. Each garment is worn less before being disposed of this, due to this shorter lifespan higher relative manufacturing emissions. The slow rise of clothing within the industry ensures their affordability, thus continuing the growth as the middle class expands and purchases increase to match the demographic shift. Through this combination of factors, it is expected for a tripling of resources for consumption by 2015. Sustainable fashion has two main categories, sustainability and ethicalness. They are both very important but not always used in conjunction to label a garment as sustainable. Sustainability focuses on the recycling and use of natural fabrics and dyes, while trying to reduce water usage and pollution. While ethicalness focuses on fair wages for workers, right to unionise, correct breaks and time off, while working under safe conditions. Ethicalness can also be considered in the animal welfare and the way animals are exploited for fashion trends.

Although the industry has responded to the lack of sustainability and ethical issues surrounding the production, with popular clothing lines such as Zara, ASOS and many others having released clothing lines which use organic cotton. The question still remains whether Fast Fashion could ever be sustainable, “using cotton makes no difference if its harvested unethically”. Is Fast Fashion by nature a production which cannot be long lasting? We must also consider green washing, which is when companies exaggerate positive contributions to ethical and sustainable fashion, use manipulative, misleading terminology, and imagery; in order to distract from the ongoing mass production of fast fashion garments. This technique has been found to be used by both Zara and ASOS, as well as H&M, Boohoo, Topshop and Primark. The solutions to all of these problems are not easy, or something which will be implemented immediately. None of the less it is important we are aware of all the factors we can look into making fashion sustainable (which are already used by smaller companies).

Till next time, yours truly. 

[zoebulukaki]

Don McCullin

For anyone who isn’t aware, Sir McCullin is arguably Great Britain’s most renowned photojournalist. Having documented many major conflicts of the 20th and 21st Century, as well as famine, displacement around the world and social injustices. The photographer’s career began in 1959 when the young and bold McCullin strolled into the offices of the Observer with photographs of London gang ‘The Guvnors’. His talent was clear and so he made his first sale and was commissioned to take more. From there on out his skills as a photographer and printer only grew, raising awareness on the cruelty of these conflicts as well as shaping the perception of historical events such as the Vietnam war and troubles in Lebanon. (National Galleries) His lifetime contribution to photojournalism continues today and lives on in the collections of many museums. McCullin has also made very clear that he does not view himself as an artist, his work is strictly a documentation of life events, witnessed first-hand from his perspective as a western journalist. 

The Tate exhibition in 2020 covered fourteen different conflicts and social injustices having over 250 works, all printed by McCullin himself in his own darkroom. (Tate) If fact McCullin was extremely involved when it came to be bringing together this exhibition, which led to a great range of quotes linking to specific photographs within the display. As for the curation, it’s important to note how accessible this exhibition is. The display is wheelchair friendly as an individual can use the lift to get to the 4th floor, there are staff by the doors to help and the open plan makes it so you can move easily. Having most of the works on the line makes it so there is a minimum amount of glare, ensuring apparent view of the images. The exhibition is mostly encompassed by McCullin’s photography, however there is some magazines and memorabilia on plinths not only to remind his impact in the UK, but to also further illustrate his presence in these areas. The exhibition ends with a film collection of magazine cut-outs which further exemplified his impact and added another dimension to the exhibition. Most of the photographs are black and white with only a few magazine pictures presented in colour; this in collaboration with the grey floor and walls are successful in immersing the viewer in this blood-stained world. Displayed both on the line and chronologically, it’s easy to process just how many conflicts there has been in just 60 years. The linear curation helps simplify this incredible career and helps the viewer not be as overwhelmed. It’s safe to say the exhibition creates quite the emotional response and cannot be something that is simply viewed in thirty minutes. It can take up to three hours to go through all of the photographs and annotations which can be emotionally draining. Benches are disturbed across the room so individuals can sit and continue once they have rested. It’s also great for anyone who has come with a companion and wants to discuss what they have just seen.

The prospect of war photography was first considered in the 1830s around the same time the invention of the camera took place. The medium was very quickly explored as a method to enhance public awareness and although technical advances did not allow for the rapid action of combat, they were still able to capture sedentary aspects such as fortifications, soldiers and land before and after the battle. As cameras evolved so did the content which could be recorded. Unlike paintings which presented a single illustration of a specific event, photography offered the opportunity of an extensive amount of imagery to enter circulation. The profession is not an easy one, journalists and photographers are protected by international conventions of armed warfare, but history shows that they are often considered targets by warring groups. Fact is the camera is not a shield or a filter, it doesn’t exclude you from being there. (I know ironic since McCullin’s camera did stop a bullet but I think we can all agree that this won’t happen every time) They risk their lives to show the truth and that danger has only increased over the years making the job riskier than ever. Unfortunately, it isn’t uncommon for individuals to discard the experience of a war photographer when in reality having to carry a camera rather than a weapon can be more damaging to one’s mental state as they are unable to help the innocent and rather have to take a picture. However, the exhibition was able to showcase both the tragedy civilians had to face as well as the pain and trauma McCullin was forced to deal with after reporting in so many areas.

Albeit the initial purpose of war photography was to break the image of idealistic propaganda, the concern of desensitization has arisen. The ability to empathise with traumatized victims is the reason we seek to stop or prevent violence altogether, making the concept all so more frightening. The last century has been one of indescribable acts in the name of power and control, with such a heightened level of brutality some do worry that we as a nation are not as sensitive and take these acts of violence as part of everyday life. This is not to say that war photography is responsible for this or should take the fall. The fact is war photography is no longer the first category in which people are exposed to violence. Advancements in cinematographic technology have led to a plethora of movies, TV shows and video games all presenting of both ‘Hollywoodized’ and realistic depictions of gruesome deaths. Of course, we must acknowledge the clear separation between fiction and reality between these mediums however is this a distinction the general public would make. Are these images of war able to stare emotion the way they used to?

Not a simple answer or one that I could tackle alone, however, I do think war photography can have a devastating effect as proven by this exhibition. By creating an environment which doesn’t allow you to just flip the page or channel you are by choice forced to face the destruction caused by mankind. Understandably, the exhibition is of past conflicts and doesn’t show the documentation of conflicts occurring right now, however, the essence is still the same. As with everything it creates awareness and out of awareness can start conversations. This can in turn further educate the public and bring importance to a topic which might not be as well circulated.

Till next time, yours truly. 

[zoebulukaki]

Frida Kahlo

Frida Kahlo’s painting represent her own struggles as a result of the pain caused by her physical disability and the mental torment she suffered with. The force she held within, resulted to her legacy being remembered and studied today, sixty-six years post her death. She is considered one of Mexico’s greatest artist and is an inspiration not only for individuals within the art community but for women across the world, as a powerful figure with an incredible story of trauma, pain and betrayal. Although her artwork has influences from different techniques and art movements, she has personalised it in a way, which encourages young artist to try something new, something personal. Her artistic style developed throughout her career and arguably contained the same principle throughout. Due to the fact that she painted for herself, it was a way she could express her thoughts without having to speak. Each self-portrait takes on an emotion, a factor in her life she had to face, although this was very personal it spoke to many people which experienced the same anguish.

Her self-portraits are very symbolic of her emotional state and have aspects of her heritage as a Mexican woman. By implementing factors which could be interpreted as an insight in her mind, she is creating a statement that the viewer can decipher. While this can definitely be seen in the way she depicts herself in different portraits, she has also taken use of the background, objects and even animals surrounding her. For example, in her Self-portrait with a Thorn Necklace and Hummingbird, most factors create a sense of suffocation and pain. According to J. C. Cooper a black cat is lunar, it can represent evil and death. In this case the cat has been painted in a stance which would suggest that it is antagonized and threatened. As the back legs shift upwards it is as if it will leap outside the painting and strike. Although the monkey has been painted in a much calmer tone, in many cultures it can be considered greedy and grasping. Which seems to correlate with this depiction, as it ties the thorns on her neck; oblivious to the blood that sheds as the points pierce her skin. In addition to this the black hummingbird, tangled on the thorns wrapped around her neck, verifies the feeling of pain. In most cases a hummingbird is meant to represent joy, love and freedom. However, in this image it is trapped, perhaps an allegory meant to represent the position she was in while painting this. There are aspects of this painting which don’t imbody a negative prospect such as the butterflies on her head, as they are symbolic for rebirth and resurrection. These ‘celestial winged creatures’ are valued by the Mexican tradition as they signify the presence of an important person which has passed. Nevertheless, her facial expression still emits discomfort, as she seems to endure the challenges of her life. Iconographical symbols have been used for many years as a way in which the viewer can read the narrative of the artwork. Throughout history, many were illiterate and thus patrons would relay on their artists to create a work of art that didn’t need writing. By just looking at the symbols they would know what the artist is trying to convey. Kahlo took this technique and made it very personal, as she is able to represent her perspective without having to actually speak, since it is likely she’d be ignored. The graphic nature of her paintings makes it so the viewer has no choice but have some sort of response, thus her pain witnessed and not dismissed.    

It’s safe to say that Kahlo’s approach in art was definitely a major influence in her individual style. Even though she didn’t have extensive training, the way she altered her pain on the easel created a captivating and yet sorrowful image. The production of nude female portraits made it so, women were seen as flawless beings. Not allowed to show any expressions or body language which would suggest anything but perfection. Kahlo did not obey this principle; her naked body is shown for what it is. Shifted and formed in a way which caused agonising pain throughout her life. Whether it was the neurological trauma she experienced from contracting polio at such a you age or the tram accident, she didn’t fail in explaining exactly what she felt. Along with the emotional torture she withheld from her marriage, enjoying life was a hard task and thus we were able to obtain a series of painting which revolutionised the way we looked at the female experience. The practises she obtained are illustrations of her life. Even after her death she is able to take the viewer on a toilsome journey, through the series of paintings she has left behind.  

 Till next time, yours truly. 

[zoebulukaki]

Mikhail Karikis ‘Ferocious Love’ exhibition

Made in collaboration with students and activists, ‘Ferocious Love’ is an audio-visual installation, revolving around the strong subject of climate change. Karikis and his collaborators help the audience “imagine a possible future in 2050 where the climate has drastically changed, and seasons have become unrecognisable”. Intertwined with the writing of Naomi Klein and feminist music thinker and performer Pauline Oliveros’; this installation claims to focus on the emotional responses and the need for mutual care in the face of climate crisis. While the sound made by Liverpool Socialist singers compose weather-like effects such as wildfires, flooding and other extreme weather. The two video installations made by students from Birmingham City University reflects the potential for calamity to bring communities together.

When you first enter the exhibition, you are immediately faced with darkness. In just a couple of seconds you can feel a tremor through your body as the roaring speakers create a melody of chimes and droplets slowly falling down. Due to this this strong introduction your senses are blurred, making it impossible not to be engulfed by your surroundings. You are no longer in a gallery or a dark room, rather encompassed by birds and nature. What was the purpose of this curation? Perhaps a reflection of the precarious future on Earth, symbolising climate change in its many varied forms. In this case, a darkness which envelops everything we know and cherish. The sounds of voices start to echo through the room and the first film-installation begins. Their footsteps and breaths can be heard in the surrounding speakers making you feel as if you are part of the film and within the group of people shown. We are now open to the failures their ancestors faced, a reflection of today’s shortcomings. The broken concept of a community, the hopelessness we feel and the question of whether we have left everything too late. Can we reassemble what we destroyed, is there still time? You slowly start to adapt to the blackness, however once the film ends you are greeted by thunder and firestorms. The increase of vibration and sound desensitize you, almost as if they are preparing you for each film. Glimpses of nature is shown in the installation alongside the same group of people gathering and creating something out of any natural resource they can find. Reinforcing the importance of true unity in the face of uncertainty. The exhibition ends with a despondent strain of notes and voices. Looping back to the bells and birds; an endless circle of hope and despair.

This concept of climate change is further reinforced in his use of sound and music. We only have to look great composers like Hans Zimmer or Ludovico Einaudi to understand the impact of sound in film. It is the very aspect which can shift an individual’s emotion to fit a character, moment or environment. This exhibition is no different. Emotions are a complex subject that are still under investigation, what we do know is that these collections of organized chemicals show neural responses to specific internal or external stimuli in this case sound. While listening to music our brains organise specific dimensions such as pitch/loudness, contour/rhythm, tempo and reverberation; schemas can involve continuous predictions about what will come next in the music.  The musical structure of this exhibition brings elements which most people would recognise such as rainfall, birds chirping or thunder. They aren’t necessarily dejecting however in conjunction with the socialist singers they create a new cluster of emotions which concur with the topic in hand. They convey interpretations through dynamic temporal acoustic patterns conveying emotional meaning to its listeners. Sounds encompass most people, they are fundamental in knowing where we are and what surrounds us, simultaneously triggering memories of what we have heard before. The combination of something familiar and new makes it easier for people to be swayed by the music and not resist it. However, being this is an exhibition which welcomes a broad demographic the leaning towards sound will be missed in the ears of the deaf community. They will be able to feel the vibrations coming from the speakers but might not fully understand the motion of the exhibition due to the lack of strong imagery in the film. In order for this exhibition to fit a large demographic both mediums film and sound most be equal in conveying a message, rather than favouring one over the other. Ensuring that an exhibition such as this one is accessible to a vast number of people is vital, the lack of an audience stops awareness being spread.

Nevertheless, the art world has a chance to convey this issue so that countless of people become more aware and willing to make change. Organizations like Cape Farewell, stimulated artist’ interest in climate change by bringing together scientists aspiring to create both a new climate science and new forms of art. Its founder Buckland coined the phrase ‘climate is culture’- meaning that climate change is the product of our culture and our culture can shape the future. By documenting and comparing contemporary and historic examples of arts-sciences it has been proposed that this method is key in social engagement for environmental concerns. In fact, the American Psychological Association found that science-based messages were more likely to polarize the public, making artistic messages preferable as it can be conveyed in a way the public will accept. This can be seen when the Donegal County Council Public Art Office created the Climate Change residency project, selecting artists which would resonate with the topic and could embrace the idea for change. More recently, due to Karikis’ exhibition artists Joanna Fursman and Sophie Hedderwick, (both PhD students at Birmingham City University) have made new works in response to ‘Ferocious Love’. An important aspect of any exhibition with a specific message as it creates a chain of artworks that can help such topic expand much further than initially anticipated. Its importance lies with the responsibility we have as higher intellect beings to protect the earth we live on. To make and create sustainable altercations for the survival of our beautiful planet and all the wonderful species on it.  For art elucidates climate change in a way, in which words could not reach, echoing the yearning for hope in the face of such dramatic change.

Till next time, yours truly. 

[zoebulukaki]

Theaster Gates 'Amalgam'

Tate’s exhibition features sculpture, film, dance and installation, commenting together on a rather disturbing part of American and British history. Each artwork presents the issues intertwined with race, territory and inequality. From a chalkboard documenting the journey of Maine, Black communities and the mention of mixed-race starts such as Alicia Keys and Halley Barry; to the glass cabinets filled with brandings irons, screws and vices with rusty instruments that could have been used in the barbaric transportation of the people. All pulled together with a direct view of the docks, perhaps an acknowledgment of Liverpool’s substation involvement in the slave market.

Why was Gates inspired to create such a political and relevant piece?

Malaga! This small island off the coast of Maine in the north-eastern US, inspired Theaster Gates to create ‘Amalgam’. The first solo exhibition he has ever presented in the UK. Malaga was the home to a small mixed-race community of Black and white heritage, ergo the title of the show, as well as the anagrammatic play of the name. Segregation laws were strict and so the interracial relationships formed on the island vilified the people as “degenerates”. It was believed that the citizens of Malaga were genetically immoral and criminal due to economic, racist and eugenicist theories, created to prove how damaging their presence was to the state. With such beliefs being reinforced, it wasn’t hard for the state governor to evict the residents of the island in 1912 and with no offering of housing or jobs the community disappeared. The land was meant to be redeveloped to help Maine’s burgeoning tourism economy, however such plans never happened and so the island to this day is inhabited. With all this devastating information in mind, viewing the exhibition creates a sense of pain and sorrow in every room.

The curation was done in a way which made every artwork important in its own unique way. One of the first sculptures which you would see as you walk in the room was formed of slates based in a circular shape, with a Greek-style pillar and green neon-light writing of ‘Malaga on top’. Although it was placed in the corner and the composition of the artwork didn’t try to create a blend between the different materials but rather have them stacked, the eye-catching neon-lights attracted many viewers. Certainly, an intended remark towards the island and the tourist plans which never prevailed. Even with the sign placed on top this artwork seemed to have more of a subtle tone in comparison to ‘The Dance of Malaga’ with its simultaneous beautiful and revolting content. Perhaps one of the standout artworks, this film presented a documentation of dance, music and archival footage, as well as clips and images from various movies. The choreography of acclaimed American dancer, Kyle Abraham was truly bewitching, the slow shifts felt like extensions of the environment the dancers were in. Each hand movement was precise in its execution, but didn’t feel planned, rather a flow which came naturally. The soundtrack of the film only embodied the emotions of the story, as Gate’s musical collective, The Black Monks sang their blues and gospel inspired sound. The score was used throughout the exhibition but was most notable in the film and the forest carved of wooden trunks.

I guess the only question left is whether you should visit Tate Liverpool. I am aware that when looking for new exhibitions the simplest deciding factor is whether the art shown meets your liking. However, in this case I would say that Theaster Gates is showing something much greater than art for the sake of art. The inspiration taken for this exhibition is a very important part of history, one everyone should be aware of and learn from. I can only hope that everyone interested in the artworld will visit the Tate to see such distinguished work.

Till next time, yours truly.

[zoebulukaki]

Security when involving Performance Art

Performance art was traditionally interdisciplinary, covering any live artistic event including singers, poets, filmmakers and artists within a fine art context. Such performances involve four basic elements such as space, time, a presence in a medium, or the performers body and a relationship between the performer and audience. The performance itself can either be scripted or unscripted, spontaneous or otherwise carefully planned, random or carefully orchestrated and with or without audience participation. Including the actions of a group or individual in a particular time or place. It can occur in any type of setting or venue; however, we will be focusing within museums or galleries. When creating an exhibition there are certain factors involved which we can expect to be similar if not the same. Whether the institution receives aid from the government, transportation of the artwork or estimation for the number of visitors etc. However, the actual curation of the space will be determined by the artwork itself and what each artist wants to achieve. There are established methods in which we display static work such as paintings. But how do you curate a performance piece? We can’t use a salon or white cube hang to determine the way it will be displayed. How will it be documented? Can the audience interact with the performance and if so, what security measures must be taken to keep the performer(s) safe? 

Security in any performance will differ depending on the amount of interaction with the audience as well as the type of performance shown. An artist who has certainly shown the drastic variation in this field would once again be Marina Abramovic. With substantial documentation of the work produced over the forty years, we can see just some of the difficulties a gallery would have to overcome, in terms of security. Rhythm 0’ (1974) is both one of her most well-known pieces and most dangerous to perform. A six-hour performance at the Galleria Studio Morra in Naples, where Abramovic stood still and allowed the public to manipulate her in any way they chose while using a range of objects laid out on a table. (Marina Abramovic Institute, 2016) From threads, a pair of boots and flowers to knives, a razor blade and even a gun with one bullet. The safety of the artist was something the gallery would have to consider, whether or not the audience would be violent towards her or use one of the seventy-two objects to harm her. Questions which they would have to answer and have medical aid in case she was severely hurt, it’s safe to say such precautions would not be necessary for an exhibition which held paintings or sculptures. The performance began with simple tasks like making Abramovic eat grapes or moving her arm upwards. (Marina Abramovic Institute, 2016) However, as time passed the audience became more daring in their actions; from cutting of parts of her top until there was nothing left and touching her in whatever way they found acceptable to cutting her on the neck with the razor blade. (Marina Abramovic Institute, 2016) Through the numerous actions taken towards Abramovic the gallery only intervened when a visitor took the gun, placed the bullet inside and made the artist point the gun towards herself. Abramovic claimed to take ownership for anything that was done to her, the outcome of the performance showed just how ‘thin the veneer of civilization’ was and how quickly an audience will become ‘bestial if given permission to do so’. (Contemporary Art Fashion, 2018, 00:12:28/ 00:12:50) Similar to Yoko Ono’s ‘Cut Piece’ (1964) where she allowed the audience to cut parts of her clothing, Abramovic is establishing a direct relationship between the artist and the viewer. (MoMa Learning, 2006) The implications of such performance can be very complicated due to the unpredictable nature of people.

Till next time, yours truly. 

[zoebulukaki]

Camille Pissaro ‘Jetty, Le Havre, Morning Cloudy and Misty Weather’

The painting I picked for today’s blog is by Camille Pissarro and is called ‘‘Jetty, Le Havre, Morning Cloudy and Misty Weather’. Presented by Lucien Pissarro, the artists son in 1948. It’s among the many paintings created by the impressionist and according to ‘The Journal of Aesthetics and Art Criticism’ Pissarro was one of the major members of this movement, a style of painting which aimed to capture the drifting glance of a scene. They never made a manifesto, considering themselves as victims rather than aggressors. Due to the constant persecution of the public and critics, the group formed in 1874 disbanded around 1880. However, a further explanation of their hardships and the link to the artist will be offered later on the presentation.

Like Manet he aimed to record his visual impression of the scene at a particular moment in time. To capture the vibrating quality of light, Pissarro like many of his fellow impressionist used short choppy brush strokes. As you can see in this painting, he hasn’t added black when creating the shadows on the sea, but patches of dark shades of green and brown, creating a much stronger sense of form. Since complementary colours were used for their vibrant contrasts and mutual enhancement when juxtapose against one another, it’s clear why Pissarro has used this technique. Which can be further seen in the blue on the sails on the boats. A thick impasto application of paint means that even reflection on the water’s surface appear as substantial, as any other object in this scene. This as expected makes the surface of the painting quite opaque. It’s safe to say they didn’t use thin paint films and glazes that were popular by Renaissance artists. Although his work doesn’t lack in perspective, he has flattened out the painting by leaving his brush stokes visible, there is a deep illusion of space within his works, but it’s as if he wants to remind the viewer that this is indeed, just a painting. Such artworks created quite the controversy, as before hand people were used to seeing historical scenes, with a photo-quality realism of a highly blended finish and invisible brush strokes. Were as impressionist aimed to capture the momentary fleeting effect of a scene, there is a sense of movement in this painting. We know that if were to look back in this moment in time, we wouldn’t have captured the exact same scene, the boats would be shifting in the water and the people moving along with their everyday lives. Such artworks come from the idea of painting the impression of a first glance, when we look at a landscape, or a crown of people, we do not instantly see every face or leaf in detailed focus, but a mass of colours and light. As you may be able to see on this painting, we can’t distinguish each face in the crowd, but the impression of how large that crowd is. The effect of impressionist painting was also reinforced by the way the artists created them. In order to capture the light and a specific scene they would sit outside. It’s even said that Pissarro painted this as well as two other paintings on the balcony of his hotel room. Due to this method of painting, the artist had less time to mix colours, had to keep up with the ever-changing daylight and their drying paint, which resulted to lose brushstrokes. You may also notice that there is no hard edges, an effect created by painting wet on wet. An article published by The Spectator Limited, claimed that Pissarro was indeed a ‘worker’ of his art to an extraordinary degree. His creation was dedicated to a non-formulaic interpretation of nature, the city and everyday life, yet it was built on the most meticulously prepared foundation. His spontaneous painting of not a particular part of the scene, resulted in anything but chaotic, the artfully random compositions are a clear example of his training, endless practise and refinement. His drive to become better, made it so he was never afraid to try new techniques and to work until he had mastered it.

Till next time, yours truly.

[zoebulukaki]

Britain’s Hidden Art History

When learning art history there is a certain expectation. One that would presume that you will learn of all (or at least most) prominent artist and the mark left not only in the art community but in our culture all together. What if I told you that that is not the case? That in actuality a grand scale of great artists have been left out of our history for something as ridiculous as skin colour. Hindering not only their success but their importance. The BBC4 documentary ‘Whoever Heard of a Black Artist? Britain’s Hidden Art History’ follows Sonia Boyce as she leads her team in preparation for a new exhibition at Manchester Art Gallery; highlighting artists of African and Asian descent who have helped shape the history of British Art. Speding three years of their lives, Sonia and her team have discovered nearly 2,000 artworks within archives of museums which have rarely if ever been displayed before. Through this documentary we are able to rediscover not only great works but groundbreaking artists from the Windrush generation, 60s counterculture revolutionaries and the black arts movement of the 80s. 

We know that racism perpetuates all aspects of life and unfortunately the artworld is no different. So when an artist was actually able to find success surely their work should be documented. However, this couldn’t be further away from the truth. The reality was that once the artist passed away or simply stopped working so did their memory and their contributions. It begs the question, who decides what is and isn’t worthy to be remembered in art history? Sonia Boyce has proven that many great artist like Rasheed Araeen, Lubaina Himid, Yinka Shonibare and the BLK art group were not shown for all the great work they did. In fact it is only a recent development within the artworld which finally strives to not discriminate and look in the past for all artists which were forgotten and ignored. The Manchester art exhibition isn’t only a way to pay respect and correct history but a way to set us on the right path. 

Till next time, yours truly. 

[zoebulukaki]

Olafur Eliasson

Can art shift public opinion?

An artist can only hope that their exhibition will be understood and loved by the public; but can it create change? Is a collection of artworks capable of altering the opinions of so many stubborn individuals? 

This was the intention of Olafur Eliasson’s exhibition in 2019. Hosted in London at Tate Modern, he attempts to tackle the issue of climate change and the force art can have on the world. In one of his exhibits he presents a wall of moss as a way to start conversation about more sustainable materials in the production of housing. Of course climate change and renewable materials is not a new topic within the realm of debates and discussions especially today in 2020. In fact Tate Modern in Liverpool has an exhibition by Mikhail Karikis presenting the earth in 2050 after climate change has took its tole on the planet. The reiteration of this important subject only helps guarantee the spread of awareness, which ultimately should lead to real change...right? 

Eliasson most centrally believes that art can create a more emotional message which will help the audience connect and bring topics which for some might be be out of touch. Well according to the American Psychological Association science-based messages were more likely to polarize the public, making artistic messages preferable as it can be conveyed in a way the public will accept. We already know that change occurs through people, our strive to make the world a better place is ever growing. So perhaps art truly is one of the key elements we need in the growth and shift of this planet. What do you think? Is this concept just wishful thinking or is art a fundamental element in cultural change? 

Till next time, yours truly. 

[zoebulukaki]

Let the new Academic Year Begin!

We are back...well kind of.

As you can imagine all the key aspects of university life have been taken away. No more face to face lectures, spaces to speak with your peers or the chance to just work in the library for the whole night. No more clubs and pubs to go dancing, or simply going to a restaurant together to celebrate a semester well done. Nevertheless, the show must go on and the only way we can achieve that is through online conferences. I can only hope that with time this new way of teaching will be integrated in everyday life, although not ideal we must all do our part in these hard times.

For our first ever artist zoom lecture we were invited to listen to Jorge Menna Barreto. I had the pleasure to listen to his talk regarding his site-specific projects last December and so was thrilled to know I would get the chance to hear more about his work with the Liverpool Biennial. For anyone who isn't aware Barreto investigates the delicate relationship of food, society and nature, questioning the complex environmental issues relating to our unsustainable dependence on the global food system. Unfortunately due to the current circumstances his work with the Biennial has been postponed and since I have already written a blog on his work I thought it would be interesting to document my personal growth in a plant-based diet and quite frankly what I think about it. 

For some the journey of having a plant-based diet or being vegan is a swift change that can happen in one day, however that is not the case for me. Even as I write this I cannot claim that I am fully vegan, but still actively trying to reduce my consumption of animal products as well as by products. My journey has been one of research and meticulous planning. Simple swaps where made instantly for example using fruit syrup instead of honey or cutting out dairy products for plant-based products. As with everything new this was a field of trial and error, as it took me a couple of months to find a cheese that I liked. As I further looked into nutrition and recipes I came to realise that everything I already knew was surrounding animal products. Nutrition levels of ingredients like beans and pulses where lost to me and had no clue how to prepare tofu let alone cook it. As weeks went by I kept trying more and more recipes both in the field of cooking and baking. Some where superb and others fuel for nightmares, but I felt a sense of satisfaction knowing that I made a meal that didn’t harm an animal and wasn’t contributing to environmental issues. By visiting local markets and trying to reduce my use of plastic I was able to create sustainable food that didn’t lack in flavour or goodness. 

So what do I think of the plant-based diet?

Today is the easiest time to be plant-based as we have so many more supermarkets bringing in vegan friendly products. Its not a diet of restriction but rather a diet of wonderful food we simple don't pay enough attention to. I do believe its possible for many people to make changes in their everyday lives which would prove to be better in all key aspects without jeopardizing good food.

Till next time, yours truly. 

[zoebulukaki]

Five Car Stud

                    Should art have a political or rather any message?

A vast number of individuals consider artworks as a way to escape everyday life. But what happens when the varied field you use to find the tranquil and serene part of yourself, has a strong message that cannot be ignored? 

The image above is ‘Five Car Stud’  created by Edward Klenholz between 1969 and 1972. A life-sized reproduction of a racially violent scene, considered to be one of the American artist’s most significant work.  Being first exhibited at Documenta 5 in Kassel and curated by Harald Szeemann. The artwork catapults the viewer into a horrific scene, immersing them in a either removed or forgotten dimension of extreme violence. That violence follows the narrative of a lynching. 

For anyone who isn’t aware, lynching is a premeditated extrajudicial killing by a group or mob. In this case the killing of black people in the United States predominately in the South between 1882 and 1968. With a recording of nearly 5,000 cases, it's safe to assume that lynching was a problem in the States and yet it is a topic people are either not aware of or choose not to talk about. Historians broadly agree that lynchings were a method of social and racial control meant to terrorise black Americans into submission. As victims would be seized and subjected to unimaginable physical torment, their life usually ending by being hung from a tree or set on fire. More often than not, they would be dismembered and parts of their bones would be used as souvenirs. 

(LET ME REMIND YOU WE ARE TALKING ABOUT INNOCENT PEOPLE)

Through this artwork, the viewer can see a freeze-frame of one of those lynches. The headlights illuminate the scene of a black man held down by three white men; struggling while they tie a rope around his limps and attach it to their cars. In one of the trucks, we can see a white woman in distress suggesting a relationship between herself and the victim. With this in mind, we know the cause of this lynch as segregation laws were not to be taken lightly and even when lifted many believed it was a valid reason for murder. The flow in the human wax figures and life-size environment makes the scene extremely real and pungent in its message. We know what would happen if someone were to click the unfreeze button. This is not a fictional story. This was the reality many black Americans and supporters had to face when dealing with the opposed demographic. So what is the purpose of this artwork?

Even though for many, art is meant to be innocent and untouched by human sin. It is also an extraordinary method to explain and bring attention to topics that are either ignored or quite simply not understood. I recognise that sometimes we need a space that’s not soiled by the outside world, however, if an artist wants to bring attention to a topic they find important, they have every right to do so using their best tool. 

If you haven’t already noticed, today’s post is linked with BLACKLIVESMATTER. I am sure you have heard that statement many times at this point, but it's important to understand one thing. 

THIS MOVEMENT IS ABOUT EQUALITY!! 

It’s not about being racist or prejudice towards white people. They don’t want more, just equal. So I encourage you to research and educate yourself, for even that shows your support for peoples basic human rights. 

Till next time, yours truly. 

[zoebulukaki]

Criticality and Susie MacMurray

Looks familiar...right? 

Take a couple of seconds to think where you’ve seen this before. 

3

2 

1

And.................

If you thought in this very blog you would be correct. This dress featured in my post about our ‘Manchester Art Gallery trip’ (before the Earth was plagued with a pandemic). So why I am talking about it now? I have recently received feedback, advising me to be more personal and critical when writing these posts. Leading me to believe that re-writing about an artwork I perhaps skimmed over would be a good exercise to further develop my academic skills.

 Let's Begin! 

From a distance, you notice a full-length evening gown of grey feathers, fitted for an elegant slender figure, standing on a short plinth. However, as you approach the dress you come to realise that the shimmering feathers are actually 100,000 grey steel dressmaker pins. Stacked closely together and protruding out from a base layer of black nappa leather. The former belief of feathers soft to the touch is now replaced with the sharpness of pins capable of cutting you. 

‘Widow’ is the fourth in a series of garment sculptures by acclaimed artist Susie MacMurray, exploring aspects of female identity and vulnerability. The curational choice to place the garment at the back of the room evoked the desired response, as I was fooled by the optical illusion of the dress. As I mentioned in my previous post the beauty of art is the interpretation you can create before looking at the actual description and reason it was designed. As my friends and I speculated on the purpose of this garment we could hear the vast variety of reactions. From a fun and perhaps questionable awards ceremony dress to a dialogue of consent and consequence. 

The female identity is shifted throughout the two key materials used. Nappa leather is soft, pliable as well as tough, durable and flexible, allowing it to be shaped in countless different items. The intact top-grain makes in breathable, thus it is not easily spoiled. Is this meant to symbolise the way women can alter and adapt in their environment? Whereas the pins, although sharp one is vulnerable and can be easily bent, by placing thousands of them together they are stronger as one. Perhaps a clever way to show how vulnerability doesn't have to be a weakness, but rather something we build and grow from. 

The only section of this dress which I really don’t like is the material used as the base. Nappa is a full-grain leather made from kid, lamb or sheepskin. As someone who is trying to actively reduce the consumption of animal products both in my diet and clothing choices, I would rather the artist use faux leather or any other type of material. Hope this wasn’t too sloppy. 

Till next time, yours truly

[zoebulukaki]

What now?

We are in a lock-down and in a world where social interaction is a fundamental part of everyday life, its easy for us to feel gloomy and isolated. From numerous discussions I’ve had with my fellow students, it's safe to say that such feelings are not uncommon. Thus its important for us to keep active and motivated in order to get through this pandemic. Everyone has thought at least once, “If only I had the time.......” well now you do. Pick up that book you’ve been shoving to the side for months and cook that time-consuming dish. Is it ideal? No, it’s not, but that doesn't mean there aren’t activities you can do in order to make your days more interesting. Do not give up on your artistic practise, take the time to experiment and (if you haven’t already) have a presence on a digital platform. Understandably, a lot of artist have mixed feeling on social media and it’s fleeting nature. However, without exhibitions and gallery space, we need another platform for incredible artwork to be seen. So take the chance and be amazed by the outcome. 

As for the image shown above, this I would argue is the tiny silver lining in this event. Since the lock-down in Italy, the lagoon’s water in Venice, typically murky, are now clear. As a result of this outcome, swans and dolphins have started swimming in the canals. Locals have reported that they spend their days admiring the beauty from their rooftops, appreciating every sunrise and sunset. Furthermore, there has been new evidence released by Marshall Burke an environmental resource economist of Stanford University showing the decrease in global air pollution. Perhaps this is an opportunity to assess which aspects of modern life are absolutely necessary and what positive changes might be possible if we alter our habits on a global scale. 

[zoebulukaki]

Garth Gratrix

Would you like to guess what we did for this lecture?

I’ll give you ten seconds…...

If you thought of another field trip, then you were correct! This time we explored Blackpool.

Fun fact, I lived in Blackpool for two years while completing my A-levels, so I was familiar with the area. We were lucky enough to stay in an Artsy B&B before its grand opening. Each room was decorated by an artist and had some type of theme, for example the room I stayed in was the Reading Room, which as the name would suggest was filled with books donated by the artists involved with the B&B. Everything was perfect, except the weather! Shocking English weather doesn’t consist of a light breeze and a warm night. The wind was so strong that industrial bins tumbled down the street and I had to hold for dear life on bars for I was certain I would fly away like Mary Poppins. (Maybe not as elegantly as her) Despite this eventful night, the morning was much calmer with a glimpse of sunshine following us as we met Garth Gratrix, our speaker for the day. For the first half of the talk Garth gave us an introduction and tour of Abingdon Studios. As a resident of Blackpool, Garth believes that it is important for people to see the beauty of Blackpool and not just the stereotypes linked with it. He didn’t shy away from the difficulties present in his job, which I appreciated as the raw honesty gives me a better picture of the industry. Undeniable, the second half of the talk was the highlight of the day. It took place inside the Grundy, where his latest exhibition was held ‘Shy Girl’.

In any art show there are certain questions you may wonder about the work and curatorial rationale, thus I was very fortunate and grateful to speak with the actual artist. The inspiration of the artwork is quite playful as Garth found the colours used in a hardware store and was intrigued by the names given to them. Sheets were given out with all the different colour and word combinations created, such as “Shy Girl Freshly Squeezed by The Sea” or “Shy Girl meets Dancing Bear and Flamboyant Flamingo”. The beach towels themselves have a connection to Blackpool’s past as a seaside holiday resort. However, underneath all the fun there is a deeper message linked with the gay community and some of the hardships faced such as the secret language spoken at a time where being gay would be punishable by law. You may also notice pink triangles in each towel, which was the symbol used during the Holocaust to identify the gay civilians. Such link can also be seen on the pattern chosen for the wall, as blue and white stripes was a common pattern used on the uniform of concentration camp victims.

A common presumption when it comes to simplistic art is that it serves as an aesthetic piece alone, however this work would suggest otherwise. What do you think? Is simplistic art only meant for an appealing view, or can there be more than meets the eye?

[zoebulukaki]

Fact Gallery

“FACT is the UK's leading organisation for the support and exhibition of art and film that embraces new technology and explores digital culture. We believe in enriching lives and shaping the future through film, art and creative technology” 

We are out again!

This time our class ventured of in Liverpool for a talk held in Fact Gallery. Now I will say that before attending this talk, I had no clue what to expect, I knew that they focused on technology-based art, but that it-self is such a broad spectrum. There were multiple exhibitions mentioned in the talk, but I’d like to talk about the two which left me with the biggest impression. The first project was made by Megan Broadmeadow and was a film based of a brief given by the gallery.

And what was the topic of this film?                                                            

Read Dead Redemption 2

Yes, you read that correctly. Now I do dabble with some video games such as Tomb Raider and Journey but I have never crossed paths with this one; so please forgive my attempt to explain the game itself as well as the concept inspiring this exhibition. For anyone who is isn’t familiar with the game, it covers a huge range of 19th century American landscapes and has a complex interaction between the NPCs (Non-Playable Characters) and the player. It is not necessarily an RPG (Role Player Game) however, you do have the chance to choose whether you have high or low honour through the decisions made in the storyline. For the film Broadmeadow wanted to create a court case against the player killing a suffragette, while collaborating with the over sixties and youth clubs participating in the gallery. We had a chance to watch small parts of the film in VR, however most of the film was played on screen. With a psychedelic colour palette and eccentric music I could only describe it as being ‘wacky’. To be honest the work didn’t appeal to me, however I appreciated the collaboration between the artist and the groups; as a way to get people involved in the art community. 

The second project we spoke about was inspired by Christophe Bo disco and his collaborative work with veterans. Fact decided to search the criminal justice system and the connection with veterans after their return from war. Due to the mental implications linked with such a violent environment a lot of veterans end up in prison and so meetings were set up to try and understand  this behaviour. Probationary was a board game developed with this is mind, so people can play as these individuals and go through the journey of the criminal justice system. The aim is for people to understand the struggles faced, as so many can be ignorant to the psychological effects of war.The project intrigued my interest in criminology, however I couldn’t help but wonder if this could be classed as art. I have mentioned before that I try not to claim what is and isn’t art but, in this case, I must question whether this belongs in a gallery or as a social project to try and help veterans.

What is the line between collaborative art and social collaboration? Should there be line? Or is any project considered art?

[zoebulukaki]

Leeds trip

Once again the History of Art students were unleashed in the real world only this time it was Leeds! The day was packed with visits and with the one hour delay to get back to Liverpool its safe to say I was exhausted by the end. 

We started the day at the Henry Moore Institute with a guided tour of the current exhibition (Edward Allington: Things Unsaid), which was quite interesting but I was more excited for the library tour. (You don’t have to say it.. I know). The space they cover isn’t too big but they have a great collection of British artists and archives which if you are a member can access with supervision. There were two very friendly ladies that showed us around and then allowed us to have a little look around, (they had a nice number of books related to Greek art, so I was happy). Then we went in the Leeds Art Gallery and had a look at the contemporary art. Two artworks grabbed my attention as they were quite disturbing, one was a sculpture with deformed robotic arms and a doll face that was just creepy. The other artwork was a painting of a ballerina, but on the further left side there was a clown that I could have sword was Pennywise from IT before he became famous. 

Our second destination was at the East Street Arts, with a talk given by Emma McKinney one of the space managers in the Patric Street Studios site. This was another insight to the artist studio life, Emma gave us a tour around the building and even let us talk to one the artists practising on site. He was quite a character and made everyone laugh. Emma spoke about how important it was to have a community which you can have support from was and that the structure of the building made it so people could continue with their work in their studios but had the opportunity to socialise in the more open spaces.  

We then moved swiftly to the Tetley, were we had a talk planned for the current exhibition by Melissa Burntown. Unfortunately, there were some complications so we weren’t given the talk, thus we decided to just look at the exhibition ourselves. The only world I can use to describe the artworks within this exhibition is peculiar. There were sculptures and ASMR videos, as well as a video of a tightrope walker transferring artworks from one end to the other. One of my assignments for this semester is to write an exhibition review, thus I wanted to write down anything that came to mind which would help me write a review. However considering it’s meant to be a 1000 word essay I figured just writing the world peculiar wouldn’t suffice. 

Lastly we visited another artist studio and had an introduction to the organisation by a studio member, Charlotte Cullen. This studio definitely had the stereotypes we associated with a young artist; from the leaky roof to the cold breeze that circulated the space. Charlotte was really nice to talk to, as well as some of the other artists that were there at the time. They allowed us to walk around and have a look around but since we were all very hungry and tired, we had a quick look and spent the rest of the time taking funny pictures. We finished the evening by going to a Wetherspoons and waiting for our train to arrive. We were all very happy with the trip and have many photographs to prove just that. 

In conclusion, its safe to say this trip was a success. I can only hope that every trip will be as fun as this one.