Art History and International Day for the Elimination of Violence Against Women
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious
November 25, 2021
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
Today marks International Day for the Elimination of Violence Against Women. This year, it has never been more important or more relevant to bring this conversation to the forefront. The acts of violence that occur against women continues to be a major issue despite being well into the 21st century. It has come to light that even the authoritative figures that are meant to protect have been perpetrators in these acts. One in three women are sexually assaulted in their lives, by either an intimate partner or stranger, and the majority of these incidents are not reported due to silence, stigma or shame. Art has taken a central role in activism as a useful method to address difficult conversations. By creating visual embodiments of violence against women, it is almost impossible to turn a blind eye.
One of the earliest female voice performance art pieces to explore violence against women was ‘Ablutions’ by Suzanne Lacy, Judy Chicago, Sandra Orgel and Aviva Rahmani.
‘Ablutions’ was a powerful amalgamation of audio recordings, performance and installation works that culminated in a crescendo of violent and gratuitous expression of acts of violence that occur against women. The audience were invited into a large studio containing three metal baths (containing egg, blood or soil). Cast over the concrete floor were items of animal organs, eggshells, rope and chain. If the visual stimulus was not enough, an audio background is part of the experience. The audio recording is a soundtrack of women telling their personal experiences of rape – played one after the other and on a loop. During the performance, one nude woman was bound from head to toe, whilst two others bathed in each bath in succession so they emerged covered in blood and caked with dirt. Their bodies were then bound with a white sheet, drawing upon the imagery of corpses and morgues. Throughout the performance, fifty cow kidneys were nailed to the walls. All the while, the audio recording droned on throughout creating a feeling that the brutalisation of the performance is inescapable. However, it is not an illusion. For rape and assault victims, the feeling of being trapped is their truth.
Art has an indisputable place in activism and the art world is instrumental in ending the violence against women. Art is a method by which to reflect upon the times we exist in whilst also projecting in the future to envision and drive for change. Today, students from the Duncan of Jordanstone College of Art & Design will be discussing how art has expressed the issue in the past whilst also projecting how it can be used as a implement for change. Dr Catherine McCormack, Art Historian and Lecturer at Sotheby’s Institute of Art, will join them to govern and guide a free online an event titled 'Art History & Violence Against Women'.
Art gives the marginalised masses a voice and is a focal tool to placing difficult topics at the forefront of the public conscious.
*The event runs from 2-5pm and has been organised by INGEAR (Intersectional Gender Equality in the Arts Research). The event is free but online registration must be completed in advance.
