Angela Davis’ Women’s March speech

At a challenging moment in our history, let us remind ourselves that we the hundreds of thousands, the millions of women, trans people, men and youth who are here at the Women’s March, we represent the powerful forces of change that are determined to prevent the dying cultures of racism, hetero-patriarchy from rising again.

We recognize that we are collective agents of history and that history cannot be deleted like web pages. We know that we gather this afternoon on indigenous land and we follow the lead of the first peoples who despite massive genocidal violence have never relinquished the struggle for land, water, culture, their people. We especially salute today the Standing Rock Sioux.

The freedom struggles of black people that have shaped the very nature of this country’s history cannot be deleted with the sweep of a hand. We cannot be made to forget that black lives do matter. This is a country anchored in slavery and colonialism, which means for better or for worse the very history of the United States is a history of immigration and enslavement. Spreading xenophobia, hurling accusations of murder and rape and building walls will not erase history.

No human being is illegal.

The struggle to save the planet, to stop climate change, to guarantee the accessibility of water from the lands of the Standing Rock Sioux, to Flint, Michigan, to the West Bank and Gaza. The struggle to save our flora and fauna, to save the air – this is ground zero of the struggle for social justice.

This is a women’s march and this women’s march represents the promise of feminism as against the pernicious powers of state violence. An inclusive and intersectional feminism that calls upon all of us to join the resistance to racism, to Islamophobia, to antisemitism, to misogyny, to capitalist exploitation.

Yes, we salute the fight for 15. We dedicate ourselves to collective resistance.

Resistance to the billionaire mortgage profiteers and gentrifiers.

Resistance to the healthcare privateers.

Resistance to the attacks on Muslims and on immigrants.

Resistance to attacks on disabled people.

Resistance to state violence perpetrated by the police and through the prison-industrial complex.

Resistance to institutional and intimate gender violence, especially against trans women of color.

Women’s rights are human rights all over the planet and that is why we say freedom and justice for Palestine. We celebrate the impending release of Chelsea Manning. And Oscar López Rivera. But we also say free Leonard Peltier. Free Mumia Abu-Jamal. Free Assata Shakur.

Over the next months and years we will be called upon to intensify our demands for social justice to become more militant in our defense of vulnerable populations. Those who still defend the supremacy of white male hetero-patriarchy had better watch out.

The next 1,459 days of the Trump administration will be 1,459 days of resistance: resistance on the ground, resistance in the classrooms, resistance on the job, resistance in our art and in our music.

This is just the beginning and in the words of the inimitable Ella Baker: ‘We who believe in freedom cannot rest until it comes.’ Thank you.



(Analogue and digital photography)

Amelia Jones


I found the style of this text enjoyable to read, the photograph above with the relevant description below. The text then carries on to talk about the piece of art in question. A few weeks ago we read a different piece written by Amelia Jones and I found her writing to be quite confusing, however I found this one a lot easier to read. Although at times I think it could’ve been simplified, just down to some of her word choices. I enjoyed the analysis of the images and found myself often scrolling back up and down to see what the writer was talking about, I think I would’ve found it easier to have a printed copy of this text, not reading online. With a printed out copy I could have then placed the image and the analysis/ writing of it side by side making it easier to reference.

Sandra Sterle


Gallery of fine Arts, Split, 2005

INTEGRATION/Who Wants to Play? is a multi-channel video installation. The performance person can be recognized as clown despite the artist’s fragmentary disguise. Symbolically, the clown presents the real state of things by reversing the order, importance and consequences of the current state. The clown has right to treat even key issues with irony, so it presents Croatia (or any other country) joining the EU as a mere game. The installation presents the clown in three simultaneous situations: the first, a determined but indifferent clown poses in the middle of a childish version of the European wreath of golden stars, parodying official posing for the criminal record office; second, the longest projection, shows the clown winning in court, bringing toys and balloons, sleeping, running and sunbathing. The third projection, opposing the first, shows the clown behind the bars of a basement window. He watches the courtyard sadly because he cannot enter it anymore.

The Black Panthers

Black Panther Party, original name Black Panther Party for Self-Defense, African American revolutionary party, founded in 1966 in Oakland, California, by Huey Newton and Bobby Seale. The party’s original purpose was to patrol African American neighbourhoods to protect residents from acts of police brutality.




The Colonised Body

Personally for me this lecture was not as captivating as the previous few, I feel that this is because maybe I did not quite understand ‘The Colonised Body’ in comparison to The Body on Edge ect. I felt although the artists work we were shown in lecture were interesting, because they were not as shocking as The Body on Edge my mind was not as engaged, a tough lecture to follow, as the works were not as memorable as an artist pulling a scroll out of her vagina.

Ellen Gallagher

Ellen Gallagher is an American artist. Gallagher frequently collects and appropriates images from magazines aimed at African American women, many of them suggesting the use of prosthetic enhancements to diminish blackness. In collaging a range of materials into the surfaces, including plasticine, rubber and coconut oil, Gallagher adds her own humorous prostheses, developing a personal visual language.



Kara Walker

Kara Elizabeth Walker is an American contemporary artist who explores race, gender, sexuality, violence and identity in her work. She is best known for her room- size tableaux of black cut- paper silhouettes. Walker lives in New York and is on the faculty of the MFA program at Rutgers University.


Walker disrupts the narrative of her pieces by using disturbing parts of images that she has found in archives, she then subverts these into silhouettes. What she leaves out of her images is equally as important as what she puts in them.

Eliza Hutchinson

Eliza Hutchinson is a Australia artist, her work reminded me of The Body on The Edge in these images below. Although these images may appear normal, each participant (the artist being one herself) are tied upside down from their feet, their portrait then taken. Although this style of putting your body on the edge is not as risky or as dangerous as many other performance pieces out there, I still feel that hanging your entire body upside down long enough to have several portraits taken is still not ideal.


The Entertainers I2002part 1 of 2type C photograph61 x 49 cm


The Entertainers I2002part 2 of 2type C photograph61 x 49 cm


he Entertainers II2002part 1 of 4type C photograph62 x 49 cm


The Entertainers II2002part 3 of 4type C photograph62 x 49 cm

The Entertainers II2002part 4 of 4type C photograph62 x 49 cm



January 2000,First Floor Artist and Writers Space

is also another piece of Hutchinson’s, this being an obscure video piece.

Adrian Piper’s Mythic Being

In 1973, Adrian Piper created an alter-ego, the Mythic Being, who became the basis of a pioneering series of performances and photo-based works.
Piper—a light-skinned woman of mixed racial heritage—transformed herself into the Mythic Being by donning an Afro wig, sunglasses, and mustache and adopting behavior conventionally identified as masculine. She then explored how she and others responded to the Mythic Being. In the process, she transformed the conceptual art practices common in the period, infusing them with strong personal and political content.

I found this piece of text very interesting to read, unlike previous texts I have been assigned this one was easy to read and understand. No complex terminology was used it was straight to the point in the book, Adrian Piper: race, gender, and embodimentJohn Parish Bowles, Adrian Piper 2011. 

I found the piece The Mythic Being unusual but also brilliant, Adrian Piper uses herself to convey an underlying message about white supremacy. Confronting new friends by handing them letters, asking lots of rhetorical questions to the viewers of her pieces and quite literally living up or acting up to the black stereotype.


She does this as she is told she could ‘pass for white’ so not a lot of people can tell that she is in fact black, this is a point she is trying to make. Her style of presenting some of her work in The Mythic Being is comic book style photography, scribbling over photographs of herself and adding speech bubble with things that the classic black stereotype would say and wear. She not only acts like The Mythic Being, she embodies him, taking in all the reactions a man of this calibre would in situations.


Pat Brassington

Pat Brassington is a contemporary Australian artist working in the fields of photography, and digital arts. Born in 1942, in the town of Hobart, Tasmania.She is influenced by Surrealism and notions of the unconscious, which infuse her imagination along with her material processes. Unexpected juxtapositions are rife in her images, taking form through collage. Brassington often conflates opposites – human and animal, shock and the banal, attraction and repulsion – perhaps asking us to consider the delicate balance between these constructs. Despite walking this thin line, Brassington’s works remain seductive. With a lightness of touch, gentle humour and a deft use of colour she creates works and worlds where the senses prevail.





The Body On Edge

In this week lecture we looked at The Body on The Edge, looking into artists who push themselves and their body to the extremes in order to complete their practice. The title The Body on The Edge can also be interpreted as not only testing ones self and the body but also physically putting the body on the edge e.g on the edge of a cliff.

Body Art VS Performance Art

Performance is a much bigger/broader/wider medium as it can include others whereas body art is about the body, it is a specific approach to performance within a specific area under the performance umbrella.

Embodiment: the representation or expression of something in a tangible or visible form.

Embodiment isn’t just the presence of the body, it is all the different things people are engaged in, both performer and audience, this also applies to and affects the energy in a room during a piece.

I found this lecture interesting, however at times it put me on edge due to the nature of some of the video art. Artists such as:

Yoko Ono – The Cut Pieces 1965
Chris Burden – Shoot 1971
Carolee Schneemann – Meat Joy & Interior Scroll
Marina Abramovic – Rhythm 0 1974

all have work that we looked at in this weeks lecture that made me feel uncomfortable at times, it put me on the edge of my seat and the edge of my nerves. It is very difficult for the audience to remain detached (even whilst only watching online video clips) from work in this medium, the audience, even without realising are always involved due to the nature of their reaction or lack of reaction.



The Body On Edge Today?

Artists such as Andrea Fraser and Amalia Ulmon are starting to question this by using social media accounts ect to create their art work.

I personally do think that this could be the way that some, not all body artists may practice their work in the future. As a world growing in social media, I think that it would be not only an interesting but also a smart move for artists to slip into this medium.