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A Day of Art, Identity, and Inspiration 

On Wednesday 18th of June, the SFC1 History of Art cohort embarked on a trip to London, immersing themselves in the rich culture that the city has to offer. The day began with a visit to the Tate Britain, where students encountered key artworks connected directly to their prior studies of the themes ‘Art and Identity’ and ‘Art and War’.  

One highlight of the trip was seeing Chris Ofili’s No Woman No Cry (1998). This moving and textured piece – created in tribute to Doreen Lawrence and her son, Stephen, who was killed in a racially motivated attack – revealed intricate details and layers that are often lost in photographs. Students were particularly struck by the intimate and emotional experience of standing before the work, while gaining a meaningful appreciation that, arguably, can only be achieved with such close physical proximity. Moreover, students were struck by the deliberate central positioning of No Woman No Cry in the gallery, as its vibrant presence stood out powerfully within the space — emphasising its message and deepening an understanding of the role of curatorial choices. 

The group also explored paintings by Sir Joshua Reynolds, including portraits of numerous sitters that echoed the Grand Manner style – a style evoking idealisation and classical beauty - which is also seen in his Portrait of Mai (c.1776), which the students have studied as part of the ‘Art and Identity’ course. Students took time here to draw insightful connections between a variety of Reynolds’ works, as they recognised the stylistic choices that defined his highly sophisticated approach to portraiture.    

From the ‘Art and War’ section of their course, students were excited to spot a piece by Rachel Whiteread, whose minimalist and conceptual style sparked contemplative discussions. Additionally, they had preview of some content from next year’s ‘Brave New World’ topic when they encountered Jacob Epstein’s Torso in Metal from ‘The Rock Drill’ (1915) — a powerful, sinister reminder of ‘today and tomorrow.’ Other works, including Henri Gaudier-Breska’s Red Stone Dancer (1913) and Henri Matisse’s Standing Nude (1907) further point to the fascinating departure from earlier art traditions and styles that will be delved into more deeply next year. 

Following the visit to the Tate, the group enjoyed a relaxing lunch break on a nearby street packed with bustling food stalls that offered a rich international range of cuisine. With the sunny weather brightening the day, students recharged for the afternoon ahead. 

The final stop of the day was a visit to the Hazlitt Holland-Hibbert gallery in Mayfair to see a remarkable display of David Hockney’s early work produced when he was a student at the RCA in the early 1960s. Having seen some of his paintings at the Tate, alongside Peter Blake’s Self-Portrait with Badges (1961), this visit offered a broader perspective on both artists’ evolving contemporary styles, creative processes, and responses to popular culture and the Pop Art movement - a concept which explores and challenges boundaries between ‘high’ and ‘low’ art. 

Overall, the trip was a fantastic blend of learning, inspiration, and enjoyment. Not only was the course content brought to life, but students were also left excited for what lies ahead in their studies next year. 

Danika, Iona, and Ysabel (SFC1)