The removal of racist public monuments: “erasing history” or shifting its focus?

Note: Preparation to participate in this discussion board session includes 40 mins of video/audio footage and 30 mins of reading. Required viewing and reading are indicated in bold with an asterisk (*). Other links are optional. While the debate over the removal of racist public monuments has been heating up over the last decade, it has recently come to a head following the rash of police violence against African Americans (see Ferguson, Black Lives Matter) and, most recently, the death of George Floyd in May of 2020. For art historian Veerle Poupeye, the active protests, campaigns, petitions for removal, as well as the forcible removal and other iconoclastic attacks on these monuments signal a time of revolutionary change in America and beyond. Read Poupeye’s blog post, here*. Before we move further into this discussion, let’s define what it means to refer to a work of art—and, in this case, specifically sculptures installed in public spaces—as being “racist.” Such sculptures may commemorate an individual, group, event, or even an abstract ideal or belief that is connected to the subjugation of others based on their race. In some cases, an artwork may be considered racist due to the artist’s representation of race. For example, the artist may depict race in a hierarchical fashion, with a white figure larger in scale and positioned higher in the composition than a black figure. In preparing for our discussion, we will consider a variety of perspectives, from artists, historians, curators, and the public. First, read Poupeye’s blog post, linked to above. Then, read the Statement on the Removal of Monuments to the Confederacy from Public Spaces*, issued on June 19, 2020, by the Society of Architectural Historians. In this video clip*, documentarian Ken Burns sends a poignant reminder that art is never a simple record of fact. While the removal of Confederate statues is now considered to be justified by the vast majority of the American population, the call to remove other monuments whose racism lies mainly in representation, may present more of a challenge for the average viewer. Listen to this NPR story* about the Emancipation Memorial featuring Abraham Lincoln. (To listen, click the “play” button next to the title.) The Boston Art Commission voted unanimously to remove the statue on June 30, 2020. Artist Titus Kaphar reimagines historical artworks by confronting their problematic histories and uncovering or bringing into focus aspects previously unseen. Watch his TED talk, here*. To learn more about Kaphar’s work and his solutions to the problem of confederate monuments, read this. Another controversial monument, mentioned in Kaphar’s TED talk, is the Theodore Roosevelt statue installed since 1940 outside the entrance to the American Museum of Natural History in New York City. This monument has sparked so much controversy in recent years that the museum created an exhibit, “Addressing the Statue,” to explore its problematic history, subject, and composition. Watch the accompanying video, “The Meaning of a Monument,” here*. As of June 21, 2020, the musem has requested the statue’s removal by the New York City Parks dept. Read their official statement here*. (Click on “Read the full 6/21/20 statement from the Museum” near the top of the page.) From what you have learned in the linked resources above, consider a discussion on the following questions : What is the role of public monuments today, and how does this role differ from monuments erected in the past? How can these artworks serve us (in other words, what do we need from them?) and how can all members of society benefit from their presence in public spaces? How does context change the way these sculptures speak to their audience? Imagine your encounter with them in various places: high on a pedestal in a public space; within a museum, surrounded by other artworks, artifacts, and educational text; or somewhere else. How would your impression or understanding of them differ?Now that decisions have been made to remove racist monuments from public spaces, where do we go from here? What should happen to the art that was removed? What, if anything, should go in its place? Who should be involved in the process? What is the role or responsibility of contemporary artists in this process, particularly artists of color?(The questions above offer multiple points of entry into this topic. Don’t try to cover all of it in your first response! Rather, focus on what interests you most and let the discussion evolve as other group members share their ideas. While personal experience can be a jumping-off point, remember to incorporate information you’ve learned in this course through assigned readings and lessons and try to keep the focus on art. Review the Discussion Board Rubric before posting. The grading rubric puts emphasis on the quality of responses, and posting on multiple days is key. Try to strike a balance between including the information necessary to make your point and conveying that information as concisely as possible.)