Art
History
At Murdoch…
Art history is vital for understanding how creative expression reflects and shapes social, political, and cultural change across time. The examples of student work showcased here come from the unit HIS216: The Art of Protest: The Music, Performance and Visual Arts of Activism since 1850, which explores how artists have used diverse forms of expression to challenge power, inspire movements, and imagine more just futures.
Our Student’s Work
HIS216
The Art of Protest: The Music, Performance and Visual Arts of Activism since 1850
This unit examines the role of music, performance, and visual arts in social and political activism from 1850 to today. Students will explore how artists have used their work to challenge authority, inspire movements, and advocate for change. Through historical analysis and case studies, the unit covers key protest movements and the creative strategies that defined them, from civil rights and anti-war protests to environmental and class activism. By engaging with diverse media, students will develop critical skills to analyse the impact of artistic activism on society and its ongoing relevance in today’s social justice movements.
‘Lotte at the Crossroads‘
Student Name: Aimee Telford
In May 1919, a member of the West German Morality Club declared that “the war has done enormous damage in the area of morality,” condemning not the military failures of the German Empire, but the “moral filth in the cinemas, theatres, and trashy literature” brought about by the relative social freedoms of its successor. Explicitly queer visual art and illustrative practices were effective throughout the Weimar Republic because of their transparency and accessibility, features that allowed them to proliferate amongst diverse communities. But the newfound visibility of queer liberation, particularly the tentative shift of gender non-conformity into the public light of sexual politics, triggered a reactionary swell of moral panic. Queer identities were perceived as a distinct representation of the social shift from the traditions and norms of pre-war Germany. The resulting opposition to queer liberation, particularly the androgynisation of gender, was an undeniable force that only gained traction throughout the Weimar era
Most notably, visual sources within the print media were used to emphasise the “degeneration” of morals brought about by non-normative representation and activism, as the accessibility of newspaper and magazine print that allowed Das. 3 Geschlechts to be so impactful, was also utilised to widely spread caricatures of the sexual and gender revolution’s most prominent advocates. As a Jewish sexologist, Hirschfeld was an easily targetable face of queer liberation and the increase in derogatory press publications, articles, and caricatures across the Weimar era further mirror the rise in the anxieties of the German populace towards gender non-conformity – anxieties only fuelled by the profound antisemitism of right-wing sexual politics. Published by Julius Streicher, the far-right tabloid publication Der Stuermer (The Stormer/Attacker) persistently wove issues of sexual perversion and the degradation of traditional gender roles into its virulent antisemitism, positioning the Jewish community as inherently linked to any “dangerous” movement for queer freedom. Citing the encroachment of liberal gender roles, particularly the androgynisation of gender, as the “beginning of the end” of the German family. Far-right publishing houses were not, however, the only agitators of moral panic. Moderate and left-leaning satirical papers and magazine published their own visual depictions of “gender confusion” throughout the 1920s, feeding the common perception of the “un-German” nature of gender non-conformity (lotte). It is within these examples that the power of visual movements can be most clearly recognised as photography, caricature, and magazine publishing all acted as key contributing factors towards the dismantling and censorship of a visible queer liberation movement.
‘NGA Aboriginal Memorial‘
Student Name: Molly Cresswell
Art has long served as a vital form of cultural survival for Indigenous Australians, predating European colonisation by tens of thousands of years. It functions as a repository of language, identity, history, and spiritual knowledge. In the context of colonisation and forced assimilation policies—including the removal of children, suppression of languages, and displacement from land—art became a means to resist cultural erasure. Through painting, music, dance, and storytelling, Indigenous peoples maintained their connection to country and preserved their traditions. Artistic expression also operates as a form of resilience, enabling communities to assert their identity and reclaim narrative control in the face of ongoing marginalisation. As such, Indigenous art is not only aesthetic but inherently political, serving as a tool for empowerment and resistance.
The Aboriginal Memorial was created in 1988 by 43 different Aboriginal artists from Ramingining and is permanently displayed at the National Gallery of Australia in Canberra. It is designed for visitors to walk through like a funerary path. This artwork is made of 200 hollow log coffins and commemorates the Aboriginal people who have passed away due to colonisation since 1788. Each of these logs are hand-painted with specific designs that relate to various tribes. The 200 logs represent 200 years of colonisation. This artwork is significant in the movement as it was created as a counterpoint to the 1988 Bicentennial celebrations which celebrated 200 years since the arrival of the first fleet. It honoured the Aboriginal lives lost due to colonisation and it challenged the national narrative by highlighting mourning over celebration. This is an impactful and effective form of protest as it visually and spiritually honours the thousands of Aboriginal lives lost. It is also effective as the permanency of this artwork allows for it not be a one-time protest as it has a constant presence as it allows for the message to continue to educate, invite reflection, and challenge visitors. According to Ian Mclean, the presentation of this artwork ties into the military history narratives of Australia as it is framed so that is shows the themes of sacrifice and national identity similar to military history.
