How Fine Artists and Drill Musicians Work Together to Highlight
Class Inequality and Tackle Censorship
Art and social class are two intricately intertwined subjects but both significantly important influences as a pairing. We can relate them by looking at society as a whole; it is marked by social class, art being a part of society therefore means that it also experiences similar class divisions, these affecting the functioning and characteristics of the visual arts realm (Davis 2013). With the ever confusing ways in which class is distinguished there are emerging contributions that become equally important to traditional divisions such as economic capital and investments. Cultural capital is now used to distinguish classes this includes elements like clothing, art and music taste but the stance of the fine artist is thrown into uncertainty as their chosen path is considered white collar but with the upper classes still controlling their labour within the market the traditional class hierarchy still stands. Production (artist) becomes less important whereas the consumption (profits and commercial) trumps all. Artists have been criticising those in control and the treatment of society for decades, I will examine how these methods came to fruition and how they were received, which varies depending on their own social stature as well as how conforming they were towards the elite. A fine artist that also explored the treatment of proletariats is William Hogarth, whose work was very much focussed on social divisions prominent in eighteenth century England as well as ways of living people were struggling with whilst those in higher positions thrived. I will not only discuss this in relation to visual arts but also create a comparison to another realm that is experiencing similar treatment; drill music. Drill is a form of trap music that originated in 2010 in Chicago but has recently influenced the UK music scene massively, expressing not only down to earth experiences but uncomfortably straightforward descriptions of desperate poverty. The genre has been highly criticised by the government, restrictions hitting the musicians hard financially with most being black and from lower class backgrounds I will explore wether there is a stigma within the regulations. This policing can also influence the effect of social mobility within the lower classes being hampered in respect of their tastes and artistry (Savage 2015). This type of censorship hits fine artists and musicians hard, limiting freedom of speech and diversity within the creative world from those who already feel alienated from society. The subjects used by Hogarth and the way they were received by critics and public can be directly discussed alongside the topic of drill music both being controversial in various ways, as well as the similarities I will also talk about how the works and circumstances of both can critique each other. At the time Hogarth was making work, social separation was visually as well as mentally at its peak, in today’s society it is a much more complicated discussion when we consider other elements such as race which comes into play when considering both fine art and drill. Both the art and entertainment worlds are suffering from a lack of diversity and equality when it comes to social class, this has to change in order to create an equal number of heard voices and not just those who are deemed powerful or influential by said worlds.
To begin in chronological order would be to first discuss the influential eighteenth century, there was a significant focus on social class within portraiture, aristocrats and the rich would commission paintings by the most skilled of artists. They relied on the networks of other royalty to source out artists to portray a sense of power and control to their audience, their intention to boast to others of the same standing but also to inject a sense of trust into the general public (Retford 2006). Therefore most of the work viewed at this time came from wealthy artists who had worked the rounds of the rich, these artists could afford to participate in expensive teaching and access to the finest materials. They used compelling symbolism to create a sense of capability and beliefs in the figures such as the miles of profitable land they owned or families participating in jovial activities within their luxurious manor. The working classes could not afford to commission such lavish portraits and a different kind of portrayal came from William Hogarth who is said to be ‘the first to portray capitalist modern society and the first to denounce it’ (Arn 2018). The work was poignant, the artist came from an impoverished childhood, his engravings Gin Lane and Beer Street in 1751 were reflective of what he had experienced and noted within the familiar community.
The intention within these works was to highlight the issue of excessive spirit drinking by introducing Gin Tax in the first half of the century, spirits were cheap and easily accessible which meant gin was consumed primarily by the poorer. Many concerned members of the public held this accountable for the rise in criminality and infant morality in English cities which is shown in Gin Lane as one mother feeds her baby gin and another drops her child down stairs ultimately leading to its death. It is quite a depressing depiction of the slum district of London, many condemned the use of such horrifying images and degradation of these individuals. A critic writing for the Evening Standard (2007) states that these were ‘tales acted on a shallow stage by fictional caricatures elaborate in their deformity’, seeing the picture as worrisome and playing into the stereotype of the lower classes. When considering the work today it becomes a degradation rather than celebration in this particular piece, with the nature of Hogarth’s practice being satirical it can be viewed as cruel exploitation of these people in desperate situations. On the other hand, it is a portrayal of the horrors of addiction and austerity which had rarely been seen within work at this time, it is often said that the more real an image the more controversial it is, being that it is shocking or most want to feign its existence.
The sister image Beer Street portrays a contrast as a significantly more unified and positive atmosphere, showing professions such as butchers and pavers who contribute to creating a healthy, well kept community compared to those of pawnbrokers in Gin Lane who are creating a further divide and maintaining unhappiness within lower class areas. There is a focus on businesses like these now as they are a hotspot for desperately poor people in local towns such as Bolton where there is lack of opportunities, especially for young people. Unemployment rates here are one of the highest in Greater Manchester, in 2018 a quarter of residents of working age were economically inactive which is marginally higher than the average of England and Wales as a whole (Bolton Council 2018). Citizens will often become regulars within lending shops, stuck in a vicious circle of lending often precious heirlooms for cash then paying for them back at a later date. MP Stella Creasy believes the modern high street to be a toxic combination of betting shops, 24 hour off licences and pawnbrokers which highlights the areas suffering in poverty stating ‘the idea that these firms are not targeting poor areas of the country is hokum’ (Osborne 2012), many lending to just get basic necessities. Whilst analysing these vices government and MPs like Creasy are missing the point, they are disregarding the first steps before someone feels the need to visit a betting shop out of desperation. Failings of the poor is common and funding is low in places like Bolton, with the council pushing money towards capitalist developments such as shopping malls when there is increasing amounts of homelessness. This is the time when the likes of Creasy should replace snobby attitudes directed at the poor and take some accountability.
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The association of establishments and consumption of certain goods is now significantly related to what social class someone may belong to. Certain goods and uses of businesses such as pawn shops comem with judgements associated with behavioural pattern such as antisocial conduct and welfare dependance (Hayward 2006). This pretension highlights why Hogarth’s work is still relevant today, Zygmunt Bauman examines the aesthetics of consumption, how material objects and their presentation can indicate what social group someone belongs to. He discusses that social status has become an increasingly complex subject, evolving in many different ways with the addition of this material judgement which Hogarth expressed within the works. This is aspect taken from the eighteenth century, a heightened power given to objects; culmination of identity through consumption is becoming the most popular way of self expression (Dalgliesh 2014). This type of shared behaviours within consumption highlight hierarchal boundaries, defining those who are included and who are not within social memberships, based on items such as clothing which are also highly contrasted in differences within the engravings. We can also look at fine art as a signifier as it is deemed a ‘high culture’ (Savage 2015 page 95), therefore those who consume it would be considered of higher class as their tastes have been curated by those of even higher stature. There is a lack of representation of lower class artists within exhibition spaces which shows they are choosing to not participate, they do not have the means to or feel socially excluded in such a elitist world. Considering this I conducted a survey with 40 people (75.2% working class identifying). I questioned if they believed their social status was adequately represented within the settings of art galleries to which there was a mixed response with most saying they did not feel there was an equal depiction but they believe there should be. Most answers also stated they did not visit a gallery often, making up over 80% which is a running theme within lower class households. With cultural institutions becoming aware of their own elitism they have strived to combat the exclusion of the general public (Savage 2015), but it is still not enough to change their reputation of snobbery with one respondent believing art was only for ‘posh spoilt kids’. It is detrimental to all to have a lack of diverse background and imagery from artists, so to categorise art as a ‘high capital’ alienates those who are not immediately associated with higher social classes. This evidence seeks to challenge the opinion that cultural interests can be used to classify people by the way they choose to disseminate their monies and their personal choice of entertainment. When evaluating consumption in relation to class stratification it is limited in the sense that it does not take into account marginalised groups such as ethnic minorities who experience increased failures (Hayward 2006), whose communities will have different ideals of what goods are deemed culturally symbolic.
These modes of forming an identity is especially prevalent when looking at the way media outlets and even the police associate groups in poorer areas, linking their choice of clothing and musical taste to potential crimes. Those targeted are emerging on online platforms, telling of first hand experiences living in Britain whilst being poor or working class and the violent lengths they have to go to protect themselves and their families whilst also accumulating high-end material objects with the money acquired from such actions. This is displayed in a musical genre known as drill, the New York Times describes it as “unmediated and raw and without bright spots, focused on anger and violence. The instinct is to call this tough, unforgiving and concrete-hard music joyless, but in truth it's exuberant in its darkness” (Caramanica 2012). Social media becomes a vital platform for monetary gain as this type of sound is banned from most mainstream television or radio, blamed for encouraging criminal behaviour such as gang stabbings and shootings around the world. Drill was instantly condemned by the government as glamorising gang life, drug selling and making carrying weapons seem the norm (Home Office 2018). The mentioning of these elements highlight the lifestyle in deprived areas which is primarily where this originated, the government addressing these issues are not considering or attempting to solve them, merely stating them as if it is a chosen lifestyle. This is also present when looking back on MP Stella Creasy comments, people often do not choose to use pawn shops or engage in violent gang behaviour in these areas but are stricken by inequalities, lack of opportunities and have not been born into affluent families which has been proven to increase positive life chances (Savage 2015 page 193). Although we cannot say these individuals are not responsible for their actions, there is also a host of other elements that must be taken into account before criticising their choice of expression.
When looking on this in relation to Hogarth’s historical works there is a running theme in the portrayal of suffering being an extreme but truthful one, with those criticising often from an ivory tower. In regards to drill the criticism is often seen as well founded with its lyrics being extremely dark and violent, the London Met Police coining Operation Domain, taking action against gang related lyrics and videos. They often remove the visuals from YouTube which in turn prevents any profits being made, live performances are few and far between too, so there is limited opportunity to make a profit from this chosen career. With social mobility becoming increasingly more difficult, this is another barrier in the way of these individuals. In a short film created by duo Krept & Konan named ‘Ban Drill’ it entices skeptics to look at the other side of the music, to examine the struggles and the reasons why it is so graphic. Rapping becomes an escape for the main protagonist, his childhood being impoverished, living on an estate and getting involved with drug selling ultimately going to jail and using drill as a way out of the lifestyle for himself and his family. As he hits a million views on a video it is soon removed by the police and the male ends up back into gang life and violence, ultimately ending in devastation when he is stabbed. This use of film media packs an emotional punch with the contemporary grittiness and ultimate realism it is based on, it is an unusual step in the genre to commission such a film but the duo thought it effective to fight the misconception that all drill music influences real life violence among the young and poor (Cave 2019). They argue that drill music is a truthful expression of the violence experienced personally, not used to incite it, however within the film a headteacher is shown commenting that the music is made by ‘thugs and killers’ saying platforms like YouTube should be focussing their attention on taking down the genre or ‘face risking blood on their hands’ (Onwubolu 2019 5min15secs). Which it cannot be said that this genre’s intention is purely innocent which is admitted by the duo, there is also a pattern of those such as government or said headteacher which are mostly white middle class figures who are condemning the sound.
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Within the feature length Terms and Conditions: A UK Drill Story, how Beer Street/Gin Lane consider alcohol, this seeks a similar point of view depicting extremities of both the positive aspects of the music and the adverse. One of the most poignant examples when the mother of a stabbed youth says she believes the music is a freedom of expression; that the issue of violence was still prominent before drill and still will be after it (Hill 2020 3min27secs). She believes the perpetrators are not born that way but have been consistently failed by society as underclass citizens, whilst also admitting that the parents should also take accountability alongside the government. The documentary does admit that there are links between specific stabbings and gang violence stemming from particular rap videos which is unacceptable but it is also unfair to use a blanket criticism of the genre. Where Ban Drill takes a more bias, singular view, Terms explores the celebration and downfalls of the music, it examines the language and aggression used which is one of the main reasons for the controversy associated with it. Shown is a live show by the restricted duo AM and Skengdo who were hit with an injunction, stopping them performing a song the authorities deemed too violent, they were invited to perform a gig at the Saatchi Gallery in prestigious Chelsea, London by conceptual artist Andrei Molodkin. The artist heard about censorship on freedom of speech within music and wanted to create a platform where drill meets the art world. Alongside the performance were gritty installations and projections of solidified lyrics with blood running through them, these lyrics are from government blacklists and Molodkin invited visitors to donate their own blood to the words most attractive to them. This was a legitimate performance within a middle class setting with two of the most investigated drill performers who were not shocked to see that their gig had failed to make mainstream news or triggered police presence. This portrays the unfair way in which those in power choose to censor the music, when it is within their control there is little interference, it is understandable to some extent that police focus on this genre but there are limited links between online and offline behaviour to justify the condemning. The government and police are looking to further isolate those artists from certain postcodes with structures like Operation Domain, with their families mostly living way under the national average wage, using drill is an escape from that lifestyle and a way to provide (Fatsis 2019). Of course there are people who genuinely want to start gang warfare but the authorities could be shifting their attention to home life, those living in poverty from no fault of their own and the government taking some sort of responsibility for that.
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We discuss Hogarth in relation to the genre of drill as there are many links in the way they are portraying their subject, both putting forward a gritty and realistic, often depressing, picture of the life they are living or may have lived. Hogarth would be inspired by idealised imagery, taking the composition and adapting it to how situations may actually look behind the scenes of beautiful commissioned paintings. He was one of the first to recognise a prospect for a different and more pragmatic way of life (Retford 2006), criticising his own way of living whilst also touching on how those in power may be contributing to the deterioration. When we look at drill it is revealing the true problems and temptations that often affect those experiencing poverty, especially among the black community who make up the majority of those participating in drill.
Kehinde Wiley is an African American painter that attempts to give this demographic a voice, inspired by British eighteenth century portraits but seeks to modernise them by including minorities ostracised from those classical art works. Wiley was from a working class household, his mother encouraging him to pursue painting to keep out of trouble in his hometown of Harlem, New York, which is where he sourced most of his models, approaching them on the streets. He is interested in the public’s tendency to foresee a political intention within artwork especially from people of colour (Russo 2015) which correlate between his own alienated feelings towards being a black male within society and the use of exclusively black figures exuberayting decadence within the oil paintings. With race being at the forefront of many political debates, including social class, it is impossible to view the work and disregard social issues especially in the climate we inhabit today, with the added intentions set out by Wiley it is interesting that he says he does not see himself as a political artist. This could be argued against when seeing depictions such as the controversial ‘Judith Beheading Holofernes’, where a black female holds a severed brunette’s head, depicting the sentiment that it was a woman’s right to retaliate against her male oppressor with murderous acts, seen in Carravagio’s original. With women being seen as second class citizens within classical works, Kehinde Wiley modernises this notion portraying that treatment toward women of colour is now to be addressed whilst also highlighting racial tensions. With the artist describing that the severed head is actually that of his assistant, it adds even more politicised social context, bringing into question more class issues and solidifying the traditional class view alongside labour sold.
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Wiley admits that the work is deliberately exuding luxury, targeting elite class buyers and appealing to the tastes of commercial galleries, those who this feel and presentation appeal to alongside their exclusions of different ethnicities and classes (Tsai 2015). However with the inclusion of black figures in a powerful position, it seems he is cleverly targeting this audience as a way to globally exhibit the concepts of his powerless feeling as a black man. The exhibitions and media attention will in turn highlight the inequalities in history whilst also addressing contemporary issues. When considering the moves of Skengdo and AM they feel discriminated by the powerful so choosing to collaborate in the Saatchi was a way of generating new interest of their treatment as young black males creating drill, a deliberate targeting of the middle and upper classes. This is also relevant in the work of Hogarth, creating depictions of the lower classes whilst also appealing and respected to those much higher up, therefore his reputation and sought after etchings would be more widely viewed.
Going back to the survey I conducted, considering race and class I asked wether it is more important to hold an exhibition based on artistic skill or to deliberately exhibit a group who would represent diversity within the visual arts realm. With 75% believing diversity was most important, it is not surprising when considering only two thousand works in UK permanent art collections are by black artists, most not even on display (Emelife 2020). It is difficult for galleries to portray different points of views and experiences without the inclusion of diversified groups of artists. Presenting this survey is a vital part of research as it shares first hand opinions, most of those who are not participating in an art practice or part of the art world itself so will not feel the pressure of answering in a bias way to support the views of the elite within the art scene. Although this may be criticised in the sense that it may not be the views from inside the art world I am discussing; this essay focuses on those that do not have a voice, which is linked strongly with their position socially and financially.
When deliberating Hogarth and his presentation of lower class groups, the works have now attracted even more investigation; with the recent Black Lives Matter protests there has been an even bigger focus on diversity and equality within every industry, especially representation within the arts. The British Cartoon Museum have announced they are going to gradually remove Hogarth’s work, in reaction to the protests, as he is a ‘white cis gendered male’ (Simpson 2020). The works at the time were extremely revolutionary giving him, as a working class artist, an outlet to express feelings experienced by many who were oppressed and unfairly treated by those in power but now do not synchronise with modern views of diversity. When viewed today many do not feel they are an accurate representation of class struggles, along with Hogarth’s complicated stance as an artist portraying these situations whilst being a white male and well respected by the upper classes. When looking at Kehinde Wiley, the idea of appealing to those who are most influential within fine art is an effective way for monetary gain and better lifestyle but also for activist intentions. When his 2012 works were uncovered there was an uproar and negative reaction, but being one of the most successful black artists in the world, he had a voice with the ability to explain his intentions coherently, people listened and understood. In respect to drill rappers, they do not have a voice outside of their own community, the lyrics are delivered in aggression from their frustration, violent words used to create controversy in the hope they will be listened to, but also with the criticism of how they are heard. Which is also relevant in Andrei Molodkin’s exhibition, musical artistry of black drill rappers is celebrated rather than censored within a different context. Molodkin, Skengdo and AM could relate in the sense that their work had been restricted from viewers, Molodkin believes this is no coincidence but a government’s agenda to ‘censor what is the most pressing and important language of our time’ (Standen 2019) which seems to target the working and underclass. Yet, is also not exclusive to just artistic expression, but anyone who chooses to defy the idealised narrative representation.
In the updated social class hierarchy, ethnic minorities are well represented in the ‘emerging service workers’ meaning they are financially insecure but well educated (Savage 2015). There are obvious indicators these situations relate to race as this category have amounted much cultural capital but this has not translated to economic capital the same way it has for the white British. This is known as Racial Neoliberalism; the state is encouraging practices that destroy conditions of social welfare, those suffered predominantly by the black community. The consequences being deteriorating mental health and aggression to their oppressors, who are seemingly punishing those that need help the most. Operation Domain being an example, seeking to segregate rap musicians from particular London postcodes, banning them from associating with others, areas and wearing certain clothing further isolating them from society (Fatsis 2019). As we look back to the theory of Conspicuous Consumption, clothing becomes a form of class indication, some black drill musicians are legally banned from wearing hoodies which are seen to be aggressive, another form of restricting self expression. This has the same connotations to that of pawn shops; a hub of cultural dispositions associated with anti social conduct. This is also shown within the setting of holding a drill concert within an established art gallery, Molodkin is consuming the genre of drill which justifies it within the middle class setting and his position as a well renowned artist. Racial Neoliberalism looks on this commodification as a way of controlling the supply and demand of black culture which Kehinde Wiley describes as a disharmony between the world experienced as a black male and the symbol you represent to the public (Russo 2015). Which as the drill artists are in full control of their art form it is seen as aggressive in settings which are also solely controlled by them.
Whilst fine artist Wiley has full control over his work as a now middle class artist, he is still relying heavily on the elite class that rule his profession to consume and exhibit his work, as he has handed it over to match the aesthetics of the rich. With most works being a celebration rather than criticism of the elite, he has guaranteed income and suffers little backlash on controversial works. Which concurs with Davies belief that a professional fine artists position is predominantly middle class in relation to the distribution of their labour; making a living from products from their own mental and physical labour. Having the ability to fully identify and control it at the same time (Davis 2013) but still with the awareness that the control element is used lightly by the producer. When in the case of Hogarth, the reality is that he would now be regarded as middle class or above which therefore allows the public to view the works with scrutiny and criticism. With his degradation approach and Wiley’s celebratory one, this is an indicator as to the different approaches politically, not to mention the hundreds of years between them. Hogarth was beloved by those he was satirising which makes the work less of a rebellion, as he progressed in his artistic career he became sought after by the ruling class, ultimately being appointed chief painter to the King (Retford 2006). Hogarth was in the lucky position in which he had a career to fall back on if his personal practice failed, much like Wiley, they are conforming to the aesthetics and norms of the elite whether out of personal interest or to reach a wider audience. In regards to drill musician they disregard this relationship, openly criticising, making the risk of career is greater, in which they do not have a back up other than a gang lifestyle as seen in Ban Drill.
Whilst examining this social exclusion researcher Carl Nightingale found that while the life in black ghettos were suffering socially as well as experiencing economic exclusion, they are still found to be culturally and commercially included (Hayward 2006). This is truthful in the examples I have laid out within this essay, considering Skengdo and AM’s collaboration with Andrei Molodkin they are accepted as socially conforming because they are invited to a high class establishment to perform. Past tensions are forgotten, with the Saatchi existing within an area of high-end restaurants requiring strict (no sportswear) dress codes, it is interesting to see this particular event was overlooked by those originally condemning the genre. This notion also solidified by the experiences of Kehinde Wiley in his treatment as an ethnic minority whilst also enjoying a successful career that is considered a socially valuable cultural capital. It was in 2017 when he was commissioned to paint then-president Barack Obama that he gained global notoriety but the artist had enjoyed a successful art career before that. The unveiling of a presidential portrait is a fairly routine event, however this time the museum was busy with “various art-world power players and conspicuously better dressed donors looking to see what their money had conjured up” (Davis 2018) with Wiley being one of the most pop culture friendly and rising art market star of our time it is not surprising this much attention was attracted. So in this respect he is a success story for those from struggling lower class black communities, the work is challenging conventional views on power and race in some violent ways, in the same ways that drill artists rap about but the success they experience is much less. With the capitalist class dominating the sphere of visual arts (Davis 2013), deciding what corresponds to ‘good art’ they can overlook the controversial scenes depicted in favour of monetary gain. Whilst drill music is mastered overwhelmingly by young black lower class males, it is easy for the ruling class to diminish their talents as an unworthy cultural capital and restrict them from profits. The running theme within this essay has been POWER and CONTROL, the uses of them effectively keeps people in their place. Whether this is in fine art, the music world or society as a whole, we are only seeing what has been highly curated for our galleries, communities and televisions, those who hold this power should be using it to create a diverse, inclusive space for all and their variety of experiences. As a democracy, we as consumers should also be allowed to question those who hold this influence to ensure they are considering our best interests as well as the likes of the creators mentioned previously. With a heavy majority of respondents in my survey believing art can be valuable representation for social class, this freedom of expression and representation of a variety of social figures can only be a positive and enriching experience for all. Those with the power must consider the sociological implications of restricting and censoring material, remembering that everyone’s experience of society varies from class to class taking into account these experiences that influence the material created.
[1] William Hogarth ‘Beer Street’ (1751) etching and engraving, 34.8cm x 29.8cm, Royal Academy of Arts, London
[2] William Hogarth ‘Gin Lane’ (1751) etching and engraving, 35cm x 30.2cm, Royal Academy of Arts, London
[3] Andrew Onwubolu ‘Ban Drill’ (2019) Short Film, 11min:43secs, YouTube
[4] Brian Hill Terms and Conditions: A UK Drill Story (2020) Film, 1:20:49, Youtube
[5] Brian Hill Terms and Conditions: A UK Drill Story (2020) Film 1:20:49, YouTube
[6] Kehinde Wiley Judith Beheading Holofernes (2012) oil on linen painting, 304.8cm x 228.6cm, Seattle Art Museum, USA
Bibliography
· Arn J (2018) William Hogarth Mercilessly Mocked English Society and They Loved Him For It Artsy https://www.artsy.net/article/artsy-editorial-william-hogarths-caricatures-mocked-english-society-made-national-hero Accessed: 14th December 2020
· Bauman Z (1998) Globalisation: The Human Consequences Polity Press Oxford
· Bonner F et al (2018) Conspicuous Consumption and the Rising Importance of Experiential Purchases International Journal of Market Research Volume 60 Issue 1 Pages 88-103
· Caramanica J (2012) Chicago Hip-Hop’s Raw Burst of Change The New York Times https://www.nytimes.com/2012/10/07/arts/music/chicago-hip-hops-raw-burst-of-change.html Accessed: 4th January 2021
· Cave D (2019) Krept and Konan: Banning Drill Could Stop the Next Dr. Dre NME Magazine issued 14th June 2019
· The Evening Standard (2007) Hogarth the Ham-Fisted https://www.standard.co.uk/arts/hogarth-the-ham-fisted-7392745.html Accessed: 15th November 2020
· Dalgliesh B (2014) Zygmunt Bauman and the Consumption of Ethics by the Ethics of Consumerism Theory Culture and Society Issue 31 Volume 4 Pages 97-118
· Davis B (2013) 9.5 Thesis on Art and Class Haymarket Books Chicago
· Davis B (2018) Here’s The Bad News About Kehinde Wiley’s Presedential Portrait of Barack Obama Artnet News https://news.artnet.com/art-world/barack-obama-portrait-kehinde-wiley-1222910
· Emelife A (2020) There is a Lot of Hard Work to be Done: How the Art World Can Step Up For Black Lives Matter The Independent https://www.independent.co.uk/arts-entertainment/art/features/black-lives-matter-art-galleries-george-floyd-a9561951.html Accessed: 6thJanuary 2021
· Fatsis L (2019) Policing the Beats: The Criminalisation of UK Drill and Grime Music by the London Metropolitan Police The Sociological Review Issue 67 Volume 6 Pages 1300-1316
· Hayward K (2006) The Chav Phenomenon: Consumption, Media and the Construction of the New Underclass Crime Media Culture Journal Volume 2 Issue 1 Pages 9-28 Sage Publications London
· Hill B (2020) Terms and Conditions: A UK Drill Story https://youtu.be/kno5T4y5SBY Accessed: 4th January 2021
· Home Office (2018) Serious Violence Strategy Policy Paper April 2018
· Onwubolu A (2019) Ban Drill https://youtu.be/nuwcr-M37Do Accessed: 5th January 2021
· Osborne H (2012) Payday Lenders and Pawn Shops Change the Face of Britains High Streets The Guardian https://www.theguardian.com/money/2012/may/26/payday-lenders-pawnbrokers-britains-high-streets Accessed: 25th October 2020
· Philips S (2019) Art Under Threat: The Growing Crisis in Higher Education The Royal Academy https://www.royalacademy.org.uk/article/art-under-threat-crisis-britain-higher-education Accessed: 24th November 2020
· Retford K (2006) The Art of Domestic Life: Family Portraiture in Eighteenth Century England Yale University Press London
· Russo J (2015) Kehinde Wiley: A New Republic Panorama: Journal of the Association of Historians of American Art Issue 1 Volume 2 Fall 2015
· Savage M (2015) Social Class in the 21st Century Pelican London
· Simpson C (2020) William Hogarth Out of Favour as Britain’s Cartoon Museum Says its Displays are Overrepresented by White Cisgendered Men The Telegraph https://www.telegraph.co.uk/news/2020/12/13/william-hogarth-favour-britains-cartoon-museum-says-displays/ Accessed: 28th December 2020
· Sooke A (2015) Hogarth’s London https://www.bbc.com/culture/article/20150610-london-city-of-sin Accessed: 15th November 2020
· Standen A (2019) An Artist and 3 Drill MC’s Collaborate to Fight for Freedom of Expression Dazed https://www.dazeddigital.com/art-photography/article/44723/1/drillminister-skengdo-am-andrei-molodkin-the-media-freedom-of-expression Accessed: 30th December 2020
· Tsai E (2015) Kehinde Wiley: A New Republic Prestel London
· Turl A (2013) Art, the Art World and the World https://socialistworker.org/2013/06/26/the-art-world-and-the-world Accessed: 16th November 2020
Image Figures
· William Hogarth ‘Beer Street’ (1751) etching and engraving, 34.8cm x 29.8cm, Royal Academy of Arts, London Source: https://www.royalacademy.org.uk/art-artists/work-of-art/beer-street-1
· William Hogarth ‘Gin Lane’ (1751) etching and engraving, 35cm x 30.2cm, Royal Academy of Arts, London Source: https://www.royalacademy.org.uk/art-artists/work-of-art/gin-lane-1
· Andrew Onwubolu ‘Ban Drill’ (2019) Short Film, 11min:43secs, YouTube Source: https://youtu.be/nuwcr-M37Do
· Brian Hill Terms and Conditions: A UK Drill Story (2020) Film, 1:20:49, Youtube Source: https://youtu.be/kno5T4y5SBY Brian Hill Terms and Conditions: A UK Drill Story (2020) Film 1:20:49, YouTube Source: https://youtu.be/kno5T4y5SBY
· Kehinde Wiley Judith Beheading Holofernes (2012) oil on linen painting, 304.8cm x 228.6cm, Seattle Art Museum, USA
To begin in chronological order would be to first discuss the influential eighteenth century, there was a significant focus on social class within portraiture, aristocrats and the rich would commission paintings by the most skilled of artists. They relied on the networks of other royalty to source out artists to portray a sense of power and control to their audience, their intention to boast to others of the same standing but also to inject a sense of trust into the general public (Retford 2006). Therefore most of the work viewed at this time came from wealthy artists who had worked the rounds of the rich, these artists could afford to participate in expensive teaching and access to the finest materials. They used compelling symbolism to create a sense of capability and beliefs in the figures such as the miles of profitable land they owned or families participating in jovial activities within their luxurious manor. The working classes could not afford to commission such lavish portraits and a different kind of portrayal came from William Hogarth who is said to be ‘the first to portray capitalist modern society and the first to denounce it’ (Arn 2018). The work was poignant, the artist came from an impoverished childhood, his engravings Gin Lane and Beer Street in 1751 were reflective of what he had experienced and noted within the familiar community.
The intention within these works was to highlight the issue of excessive spirit drinking by introducing Gin Tax in the first half of the century, spirits were cheap and easily accessible which meant gin was consumed primarily by the poorer. Many concerned members of the public held this accountable for the rise in criminality and infant morality in English cities which is shown in Gin Lane as one mother feeds her baby gin and another drops her child down stairs ultimately leading to its death. It is quite a depressing depiction of the slum district of London, many condemned the use of such horrifying images and degradation of these individuals. A critic writing for the Evening Standard (2007) states that these were ‘tales acted on a shallow stage by fictional caricatures elaborate in their deformity’, seeing the picture as worrisome and playing into the stereotype of the lower classes. When considering the work today it becomes a degradation rather than celebration in this particular piece, with the nature of Hogarth’s practice being satirical it can be viewed as cruel exploitation of these people in desperate situations. On the other hand, it is a portrayal of the horrors of addiction and austerity which had rarely been seen within work at this time, it is often said that the more real an image the more controversial it is, being that it is shocking or most want to feign its existence.
The sister image Beer Street portrays a contrast as a significantly more unified and positive atmosphere, showing professions such as butchers and pavers who contribute to creating a healthy, well kept community compared to those of pawnbrokers in Gin Lane who are creating a further divide and maintaining unhappiness within lower class areas. There is a focus on businesses like these now as they are a hotspot for desperately poor people in local towns such as Bolton where there is lack of opportunities, especially for young people. Unemployment rates here are one of the highest in Greater Manchester, in 2018 a quarter of residents of working age were economically inactive which is marginally higher than the average of England and Wales as a whole (Bolton Council 2018). Citizens will often become regulars within lending shops, stuck in a vicious circle of lending often precious heirlooms for cash then paying for them back at a later date. MP Stella Creasy believes the modern high street to be a toxic combination of betting shops, 24 hour off licences and pawnbrokers which highlights the areas suffering in poverty stating ‘the idea that these firms are not targeting poor areas of the country is hokum’ (Osborne 2012), many lending to just get basic necessities. Whilst analysing these vices government and MPs like Creasy are missing the point, they are disregarding the first steps before someone feels the need to visit a betting shop out of desperation. Failings of the poor is common and funding is low in places like Bolton, with the council pushing money towards capitalist developments such as shopping malls when there is increasing amounts of homelessness. This is the time when the likes of Creasy should replace snobby attitudes directed at the poor and take some accountability.
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The association of establishments and consumption of certain goods is now significantly related to what social class someone may belong to. Certain goods and uses of businesses such as pawn shops comem with judgements associated with behavioural pattern such as antisocial conduct and welfare dependance (Hayward 2006). This pretension highlights why Hogarth’s work is still relevant today, Zygmunt Bauman examines the aesthetics of consumption, how material objects and their presentation can indicate what social group someone belongs to. He discusses that social status has become an increasingly complex subject, evolving in many different ways with the addition of this material judgement which Hogarth expressed within the works. This is aspect taken from the eighteenth century, a heightened power given to objects; culmination of identity through consumption is becoming the most popular way of self expression (Dalgliesh 2014). This type of shared behaviours within consumption highlight hierarchal boundaries, defining those who are included and who are not within social memberships, based on items such as clothing which are also highly contrasted in differences within the engravings. We can also look at fine art as a signifier as it is deemed a ‘high culture’ (Savage 2015 page 95), therefore those who consume it would be considered of higher class as their tastes have been curated by those of even higher stature. There is a lack of representation of lower class artists within exhibition spaces which shows they are choosing to not participate, they do not have the means to or feel socially excluded in such a elitist world. Considering this I conducted a survey with 40 people (75.2% working class identifying). I questioned if they believed their social status was adequately represented within the settings of art galleries to which there was a mixed response with most saying they did not feel there was an equal depiction but they believe there should be. Most answers also stated they did not visit a gallery often, making up over 80% which is a running theme within lower class households. With cultural institutions becoming aware of their own elitism they have strived to combat the exclusion of the general public (Savage 2015), but it is still not enough to change their reputation of snobbery with one respondent believing art was only for ‘posh spoilt kids’. It is detrimental to all to have a lack of diverse background and imagery from artists, so to categorise art as a ‘high capital’ alienates those who are not immediately associated with higher social classes. This evidence seeks to challenge the opinion that cultural interests can be used to classify people by the way they choose to disseminate their monies and their personal choice of entertainment. When evaluating consumption in relation to class stratification it is limited in the sense that it does not take into account marginalised groups such as ethnic minorities who experience increased failures (Hayward 2006), whose communities will have different ideals of what goods are deemed culturally symbolic.
These modes of forming an identity is especially prevalent when looking at the way media outlets and even the police associate groups in poorer areas, linking their choice of clothing and musical taste to potential crimes. Those targeted are emerging on online platforms, telling of first hand experiences living in Britain whilst being poor or working class and the violent lengths they have to go to protect themselves and their families whilst also accumulating high-end material objects with the money acquired from such actions. This is displayed in a musical genre known as drill, the New York Times describes it as “unmediated and raw and without bright spots, focused on anger and violence. The instinct is to call this tough, unforgiving and concrete-hard music joyless, but in truth it's exuberant in its darkness” (Caramanica 2012). Social media becomes a vital platform for monetary gain as this type of sound is banned from most mainstream television or radio, blamed for encouraging criminal behaviour such as gang stabbings and shootings around the world. Drill was instantly condemned by the government as glamorising gang life, drug selling and making carrying weapons seem the norm (Home Office 2018). The mentioning of these elements highlight the lifestyle in deprived areas which is primarily where this originated, the government addressing these issues are not considering or attempting to solve them, merely stating them as if it is a chosen lifestyle. This is also present when looking back on MP Stella Creasy comments, people often do not choose to use pawn shops or engage in violent gang behaviour in these areas but are stricken by inequalities, lack of opportunities and have not been born into affluent families which has been proven to increase positive life chances (Savage 2015 page 193). Although we cannot say these individuals are not responsible for their actions, there is also a host of other elements that must be taken into account before criticising their choice of expression.
When looking on this in relation to Hogarth’s historical works there is a running theme in the portrayal of suffering being an extreme but truthful one, with those criticising often from an ivory tower. In regards to drill the criticism is often seen as well founded with its lyrics being extremely dark and violent, the London Met Police coining Operation Domain, taking action against gang related lyrics and videos. They often remove the visuals from YouTube which in turn prevents any profits being made, live performances are few and far between too, so there is limited opportunity to make a profit from this chosen career. With social mobility becoming increasingly more difficult, this is another barrier in the way of these individuals. In a short film created by duo Krept & Konan named ‘Ban Drill’ it entices skeptics to look at the other side of the music, to examine the struggles and the reasons why it is so graphic. Rapping becomes an escape for the main protagonist, his childhood being impoverished, living on an estate and getting involved with drug selling ultimately going to jail and using drill as a way out of the lifestyle for himself and his family. As he hits a million views on a video it is soon removed by the police and the male ends up back into gang life and violence, ultimately ending in devastation when he is stabbed. This use of film media packs an emotional punch with the contemporary grittiness and ultimate realism it is based on, it is an unusual step in the genre to commission such a film but the duo thought it effective to fight the misconception that all drill music influences real life violence among the young and poor (Cave 2019). They argue that drill music is a truthful expression of the violence experienced personally, not used to incite it, however within the film a headteacher is shown commenting that the music is made by ‘thugs and killers’ saying platforms like YouTube should be focussing their attention on taking down the genre or ‘face risking blood on their hands’ (Onwubolu 2019 5min15secs). Which it cannot be said that this genre’s intention is purely innocent which is admitted by the duo, there is also a pattern of those such as government or said headteacher which are mostly white middle class figures who are condemning the sound.
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Within the feature length Terms and Conditions: A UK Drill Story, how Beer Street/Gin Lane consider alcohol, this seeks a similar point of view depicting extremities of both the positive aspects of the music and the adverse. One of the most poignant examples when the mother of a stabbed youth says she believes the music is a freedom of expression; that the issue of violence was still prominent before drill and still will be after it (Hill 2020 3min27secs). She believes the perpetrators are not born that way but have been consistently failed by society as underclass citizens, whilst also admitting that the parents should also take accountability alongside the government. The documentary does admit that there are links between specific stabbings and gang violence stemming from particular rap videos which is unacceptable but it is also unfair to use a blanket criticism of the genre. Where Ban Drill takes a more bias, singular view, Terms explores the celebration and downfalls of the music, it examines the language and aggression used which is one of the main reasons for the controversy associated with it. Shown is a live show by the restricted duo AM and Skengdo who were hit with an injunction, stopping them performing a song the authorities deemed too violent, they were invited to perform a gig at the Saatchi Gallery in prestigious Chelsea, London by conceptual artist Andrei Molodkin. The artist heard about censorship on freedom of speech within music and wanted to create a platform where drill meets the art world. Alongside the performance were gritty installations and projections of solidified lyrics with blood running through them, these lyrics are from government blacklists and Molodkin invited visitors to donate their own blood to the words most attractive to them. This was a legitimate performance within a middle class setting with two of the most investigated drill performers who were not shocked to see that their gig had failed to make mainstream news or triggered police presence. This portrays the unfair way in which those in power choose to censor the music, when it is within their control there is little interference, it is understandable to some extent that police focus on this genre but there are limited links between online and offline behaviour to justify the condemning. The government and police are looking to further isolate those artists from certain postcodes with structures like Operation Domain, with their families mostly living way under the national average wage, using drill is an escape from that lifestyle and a way to provide (Fatsis 2019). Of course there are people who genuinely want to start gang warfare but the authorities could be shifting their attention to home life, those living in poverty from no fault of their own and the government taking some sort of responsibility for that.
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We discuss Hogarth in relation to the genre of drill as there are many links in the way they are portraying their subject, both putting forward a gritty and realistic, often depressing, picture of the life they are living or may have lived. Hogarth would be inspired by idealised imagery, taking the composition and adapting it to how situations may actually look behind the scenes of beautiful commissioned paintings. He was one of the first to recognise a prospect for a different and more pragmatic way of life (Retford 2006), criticising his own way of living whilst also touching on how those in power may be contributing to the deterioration. When we look at drill it is revealing the true problems and temptations that often affect those experiencing poverty, especially among the black community who make up the majority of those participating in drill.
Kehinde Wiley is an African American painter that attempts to give this demographic a voice, inspired by British eighteenth century portraits but seeks to modernise them by including minorities ostracised from those classical art works. Wiley was from a working class household, his mother encouraging him to pursue painting to keep out of trouble in his hometown of Harlem, New York, which is where he sourced most of his models, approaching them on the streets. He is interested in the public’s tendency to foresee a political intention within artwork especially from people of colour (Russo 2015) which correlate between his own alienated feelings towards being a black male within society and the use of exclusively black figures exuberayting decadence within the oil paintings. With race being at the forefront of many political debates, including social class, it is impossible to view the work and disregard social issues especially in the climate we inhabit today, with the added intentions set out by Wiley it is interesting that he says he does not see himself as a political artist. This could be argued against when seeing depictions such as the controversial ‘Judith Beheading Holofernes’, where a black female holds a severed brunette’s head, depicting the sentiment that it was a woman’s right to retaliate against her male oppressor with murderous acts, seen in Carravagio’s original. With women being seen as second class citizens within classical works, Kehinde Wiley modernises this notion portraying that treatment toward women of colour is now to be addressed whilst also highlighting racial tensions. With the artist describing that the severed head is actually that of his assistant, it adds even more politicised social context, bringing into question more class issues and solidifying the traditional class view alongside labour sold.
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Wiley admits that the work is deliberately exuding luxury, targeting elite class buyers and appealing to the tastes of commercial galleries, those who this feel and presentation appeal to alongside their exclusions of different ethnicities and classes (Tsai 2015). However with the inclusion of black figures in a powerful position, it seems he is cleverly targeting this audience as a way to globally exhibit the concepts of his powerless feeling as a black man. The exhibitions and media attention will in turn highlight the inequalities in history whilst also addressing contemporary issues. When considering the moves of Skengdo and AM they feel discriminated by the powerful so choosing to collaborate in the Saatchi was a way of generating new interest of their treatment as young black males creating drill, a deliberate targeting of the middle and upper classes. This is also relevant in the work of Hogarth, creating depictions of the lower classes whilst also appealing and respected to those much higher up, therefore his reputation and sought after etchings would be more widely viewed.
Going back to the survey I conducted, considering race and class I asked wether it is more important to hold an exhibition based on artistic skill or to deliberately exhibit a group who would represent diversity within the visual arts realm. With 75% believing diversity was most important, it is not surprising when considering only two thousand works in UK permanent art collections are by black artists, most not even on display (Emelife 2020). It is difficult for galleries to portray different points of views and experiences without the inclusion of diversified groups of artists. Presenting this survey is a vital part of research as it shares first hand opinions, most of those who are not participating in an art practice or part of the art world itself so will not feel the pressure of answering in a bias way to support the views of the elite within the art scene. Although this may be criticised in the sense that it may not be the views from inside the art world I am discussing; this essay focuses on those that do not have a voice, which is linked strongly with their position socially and financially.
When deliberating Hogarth and his presentation of lower class groups, the works have now attracted even more investigation; with the recent Black Lives Matter protests there has been an even bigger focus on diversity and equality within every industry, especially representation within the arts. The British Cartoon Museum have announced they are going to gradually remove Hogarth’s work, in reaction to the protests, as he is a ‘white cis gendered male’ (Simpson 2020). The works at the time were extremely revolutionary giving him, as a working class artist, an outlet to express feelings experienced by many who were oppressed and unfairly treated by those in power but now do not synchronise with modern views of diversity. When viewed today many do not feel they are an accurate representation of class struggles, along with Hogarth’s complicated stance as an artist portraying these situations whilst being a white male and well respected by the upper classes. When looking at Kehinde Wiley, the idea of appealing to those who are most influential within fine art is an effective way for monetary gain and better lifestyle but also for activist intentions. When his 2012 works were uncovered there was an uproar and negative reaction, but being one of the most successful black artists in the world, he had a voice with the ability to explain his intentions coherently, people listened and understood. In respect to drill rappers, they do not have a voice outside of their own community, the lyrics are delivered in aggression from their frustration, violent words used to create controversy in the hope they will be listened to, but also with the criticism of how they are heard. Which is also relevant in Andrei Molodkin’s exhibition, musical artistry of black drill rappers is celebrated rather than censored within a different context. Molodkin, Skengdo and AM could relate in the sense that their work had been restricted from viewers, Molodkin believes this is no coincidence but a government’s agenda to ‘censor what is the most pressing and important language of our time’ (Standen 2019) which seems to target the working and underclass. Yet, is also not exclusive to just artistic expression, but anyone who chooses to defy the idealised narrative representation.
In the updated social class hierarchy, ethnic minorities are well represented in the ‘emerging service workers’ meaning they are financially insecure but well educated (Savage 2015). There are obvious indicators these situations relate to race as this category have amounted much cultural capital but this has not translated to economic capital the same way it has for the white British. This is known as Racial Neoliberalism; the state is encouraging practices that destroy conditions of social welfare, those suffered predominantly by the black community. The consequences being deteriorating mental health and aggression to their oppressors, who are seemingly punishing those that need help the most. Operation Domain being an example, seeking to segregate rap musicians from particular London postcodes, banning them from associating with others, areas and wearing certain clothing further isolating them from society (Fatsis 2019). As we look back to the theory of Conspicuous Consumption, clothing becomes a form of class indication, some black drill musicians are legally banned from wearing hoodies which are seen to be aggressive, another form of restricting self expression. This has the same connotations to that of pawn shops; a hub of cultural dispositions associated with anti social conduct. This is also shown within the setting of holding a drill concert within an established art gallery, Molodkin is consuming the genre of drill which justifies it within the middle class setting and his position as a well renowned artist. Racial Neoliberalism looks on this commodification as a way of controlling the supply and demand of black culture which Kehinde Wiley describes as a disharmony between the world experienced as a black male and the symbol you represent to the public (Russo 2015). Which as the drill artists are in full control of their art form it is seen as aggressive in settings which are also solely controlled by them.
Whilst fine artist Wiley has full control over his work as a now middle class artist, he is still relying heavily on the elite class that rule his profession to consume and exhibit his work, as he has handed it over to match the aesthetics of the rich. With most works being a celebration rather than criticism of the elite, he has guaranteed income and suffers little backlash on controversial works. Which concurs with Davies belief that a professional fine artists position is predominantly middle class in relation to the distribution of their labour; making a living from products from their own mental and physical labour. Having the ability to fully identify and control it at the same time (Davis 2013) but still with the awareness that the control element is used lightly by the producer. When in the case of Hogarth, the reality is that he would now be regarded as middle class or above which therefore allows the public to view the works with scrutiny and criticism. With his degradation approach and Wiley’s celebratory one, this is an indicator as to the different approaches politically, not to mention the hundreds of years between them. Hogarth was beloved by those he was satirising which makes the work less of a rebellion, as he progressed in his artistic career he became sought after by the ruling class, ultimately being appointed chief painter to the King (Retford 2006). Hogarth was in the lucky position in which he had a career to fall back on if his personal practice failed, much like Wiley, they are conforming to the aesthetics and norms of the elite whether out of personal interest or to reach a wider audience. In regards to drill musician they disregard this relationship, openly criticising, making the risk of career is greater, in which they do not have a back up other than a gang lifestyle as seen in Ban Drill.
Whilst examining this social exclusion researcher Carl Nightingale found that while the life in black ghettos were suffering socially as well as experiencing economic exclusion, they are still found to be culturally and commercially included (Hayward 2006). This is truthful in the examples I have laid out within this essay, considering Skengdo and AM’s collaboration with Andrei Molodkin they are accepted as socially conforming because they are invited to a high class establishment to perform. Past tensions are forgotten, with the Saatchi existing within an area of high-end restaurants requiring strict (no sportswear) dress codes, it is interesting to see this particular event was overlooked by those originally condemning the genre. This notion also solidified by the experiences of Kehinde Wiley in his treatment as an ethnic minority whilst also enjoying a successful career that is considered a socially valuable cultural capital. It was in 2017 when he was commissioned to paint then-president Barack Obama that he gained global notoriety but the artist had enjoyed a successful art career before that. The unveiling of a presidential portrait is a fairly routine event, however this time the museum was busy with “various art-world power players and conspicuously better dressed donors looking to see what their money had conjured up” (Davis 2018) with Wiley being one of the most pop culture friendly and rising art market star of our time it is not surprising this much attention was attracted. So in this respect he is a success story for those from struggling lower class black communities, the work is challenging conventional views on power and race in some violent ways, in the same ways that drill artists rap about but the success they experience is much less. With the capitalist class dominating the sphere of visual arts (Davis 2013), deciding what corresponds to ‘good art’ they can overlook the controversial scenes depicted in favour of monetary gain. Whilst drill music is mastered overwhelmingly by young black lower class males, it is easy for the ruling class to diminish their talents as an unworthy cultural capital and restrict them from profits. The running theme within this essay has been POWER and CONTROL, the uses of them effectively keeps people in their place. Whether this is in fine art, the music world or society as a whole, we are only seeing what has been highly curated for our galleries, communities and televisions, those who hold this power should be using it to create a diverse, inclusive space for all and their variety of experiences. As a democracy, we as consumers should also be allowed to question those who hold this influence to ensure they are considering our best interests as well as the likes of the creators mentioned previously. With a heavy majority of respondents in my survey believing art can be valuable representation for social class, this freedom of expression and representation of a variety of social figures can only be a positive and enriching experience for all. Those with the power must consider the sociological implications of restricting and censoring material, remembering that everyone’s experience of society varies from class to class taking into account these experiences that influence the material created.
[1] William Hogarth ‘Beer Street’ (1751) etching and engraving, 34.8cm x 29.8cm, Royal Academy of Arts, London
[2] William Hogarth ‘Gin Lane’ (1751) etching and engraving, 35cm x 30.2cm, Royal Academy of Arts, London
[3] Andrew Onwubolu ‘Ban Drill’ (2019) Short Film, 11min:43secs, YouTube
[4] Brian Hill Terms and Conditions: A UK Drill Story (2020) Film, 1:20:49, Youtube
[5] Brian Hill Terms and Conditions: A UK Drill Story (2020) Film 1:20:49, YouTube
[6] Kehinde Wiley Judith Beheading Holofernes (2012) oil on linen painting, 304.8cm x 228.6cm, Seattle Art Museum, USA
Bibliography
· Arn J (2018) William Hogarth Mercilessly Mocked English Society and They Loved Him For It Artsy https://www.artsy.net/article/artsy-editorial-william-hogarths-caricatures-mocked-english-society-made-national-hero Accessed: 14th December 2020
· Bauman Z (1998) Globalisation: The Human Consequences Polity Press Oxford
· Bonner F et al (2018) Conspicuous Consumption and the Rising Importance of Experiential Purchases International Journal of Market Research Volume 60 Issue 1 Pages 88-103
· Caramanica J (2012) Chicago Hip-Hop’s Raw Burst of Change The New York Times https://www.nytimes.com/2012/10/07/arts/music/chicago-hip-hops-raw-burst-of-change.html Accessed: 4th January 2021
· Cave D (2019) Krept and Konan: Banning Drill Could Stop the Next Dr. Dre NME Magazine issued 14th June 2019
· The Evening Standard (2007) Hogarth the Ham-Fisted https://www.standard.co.uk/arts/hogarth-the-ham-fisted-7392745.html Accessed: 15th November 2020
· Dalgliesh B (2014) Zygmunt Bauman and the Consumption of Ethics by the Ethics of Consumerism Theory Culture and Society Issue 31 Volume 4 Pages 97-118
· Davis B (2013) 9.5 Thesis on Art and Class Haymarket Books Chicago
· Davis B (2018) Here’s The Bad News About Kehinde Wiley’s Presedential Portrait of Barack Obama Artnet News https://news.artnet.com/art-world/barack-obama-portrait-kehinde-wiley-1222910
· Emelife A (2020) There is a Lot of Hard Work to be Done: How the Art World Can Step Up For Black Lives Matter The Independent https://www.independent.co.uk/arts-entertainment/art/features/black-lives-matter-art-galleries-george-floyd-a9561951.html Accessed: 6thJanuary 2021
· Fatsis L (2019) Policing the Beats: The Criminalisation of UK Drill and Grime Music by the London Metropolitan Police The Sociological Review Issue 67 Volume 6 Pages 1300-1316
· Hayward K (2006) The Chav Phenomenon: Consumption, Media and the Construction of the New Underclass Crime Media Culture Journal Volume 2 Issue 1 Pages 9-28 Sage Publications London
· Hill B (2020) Terms and Conditions: A UK Drill Story https://youtu.be/kno5T4y5SBY Accessed: 4th January 2021
· Home Office (2018) Serious Violence Strategy Policy Paper April 2018
· Onwubolu A (2019) Ban Drill https://youtu.be/nuwcr-M37Do Accessed: 5th January 2021
· Osborne H (2012) Payday Lenders and Pawn Shops Change the Face of Britains High Streets The Guardian https://www.theguardian.com/money/2012/may/26/payday-lenders-pawnbrokers-britains-high-streets Accessed: 25th October 2020
· Philips S (2019) Art Under Threat: The Growing Crisis in Higher Education The Royal Academy https://www.royalacademy.org.uk/article/art-under-threat-crisis-britain-higher-education Accessed: 24th November 2020
· Retford K (2006) The Art of Domestic Life: Family Portraiture in Eighteenth Century England Yale University Press London
· Russo J (2015) Kehinde Wiley: A New Republic Panorama: Journal of the Association of Historians of American Art Issue 1 Volume 2 Fall 2015
· Savage M (2015) Social Class in the 21st Century Pelican London
· Simpson C (2020) William Hogarth Out of Favour as Britain’s Cartoon Museum Says its Displays are Overrepresented by White Cisgendered Men The Telegraph https://www.telegraph.co.uk/news/2020/12/13/william-hogarth-favour-britains-cartoon-museum-says-displays/ Accessed: 28th December 2020
· Sooke A (2015) Hogarth’s London https://www.bbc.com/culture/article/20150610-london-city-of-sin Accessed: 15th November 2020
· Standen A (2019) An Artist and 3 Drill MC’s Collaborate to Fight for Freedom of Expression Dazed https://www.dazeddigital.com/art-photography/article/44723/1/drillminister-skengdo-am-andrei-molodkin-the-media-freedom-of-expression Accessed: 30th December 2020
· Tsai E (2015) Kehinde Wiley: A New Republic Prestel London
· Turl A (2013) Art, the Art World and the World https://socialistworker.org/2013/06/26/the-art-world-and-the-world Accessed: 16th November 2020
Image Figures
· William Hogarth ‘Beer Street’ (1751) etching and engraving, 34.8cm x 29.8cm, Royal Academy of Arts, London Source: https://www.royalacademy.org.uk/art-artists/work-of-art/beer-street-1
· William Hogarth ‘Gin Lane’ (1751) etching and engraving, 35cm x 30.2cm, Royal Academy of Arts, London Source: https://www.royalacademy.org.uk/art-artists/work-of-art/gin-lane-1
· Andrew Onwubolu ‘Ban Drill’ (2019) Short Film, 11min:43secs, YouTube Source: https://youtu.be/nuwcr-M37Do
· Brian Hill Terms and Conditions: A UK Drill Story (2020) Film, 1:20:49, Youtube Source: https://youtu.be/kno5T4y5SBY Brian Hill Terms and Conditions: A UK Drill Story (2020) Film 1:20:49, YouTube Source: https://youtu.be/kno5T4y5SBY
· Kehinde Wiley Judith Beheading Holofernes (2012) oil on linen painting, 304.8cm x 228.6cm, Seattle Art Museum, USA