For as long as there has been art, it has been political.
The Bayeux Tapestry tells the story of the Norman Conquest of England and the famous Battle of Hastings. At nearly 70 metres long and 50cm tall, the vivid embroidery tells a fascinating story in vivid colour that is nearly 1,000 years old.
It was also a gift for the new king and a piece of propaganda used to cement the legitimacy of his rule.
In one scene, the former King of England, Harold II, who died in battle, is shown being crowned by Archbishop Stigand who had been excommunicated by the church. However, historians generally believe that it was more likely that Harold was crowned by Ealdred, the Archbishop of York.
The somewhat political decision to portray Stigand helped to discredit the previous king in the minds of those who viewed this stunning work of embroidery. Art and constitutional law sitting hand-in-hand as early as the 11th Century.
In recent times, the links between law, politics and art has become more explicit.
Norman Rockwell’s stunning The Problem We All Live With pulls no punches as it shows a little black girl trying to go to school in New Orleans following desegregation. Her defiant stride as she looks straight ahead and the evidence of racist protests behind her is all the more stark as the viewer is given the perspective of being at the same height as the child.
Today, one artist has found a new way to engage with the law.