Pub Date : 2019-01-02DOI: 10.1080/00043389.2019.1582833
Thabang Monoa
Art Movements and the Discourse of Acknowledgements and Distinctions by Themba Tsotsi is a highly theoretical and complex read and yet somewhat of a landmark when considering the vast terrain covered, which is done quite exhaustively in twelve chapters. While the book overtly engages with visual culture, it ironically has no images. The ideas espoused by this individually authored text are synonymous with postmodernism, but more pertinently, with notions such as psychoanalysis and critical theory. Throughout this ambitious manuscript, Tsotsi draws from the likes of Sigmund Freud, Carl Jung, Jean Baudrillard, Jacques Derrida, Michel Foucault, Stuart Hall, Julia Kristeva, JeanFranÇois Lyotard, and Achille Mbembe to name a few.
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Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1481916
Kim Miller
Abstract This paper explores artistic and activist work that has arisen in response to episodes of violence committed by the apartheid state against anti-apartheid activists. More specifically, it considers representations of suffering in South Africa’s public sphere through a comparison of two post-apartheid commemorative spaces: the Johannesburg Central Police Station (formerly John Vorster Square) and a memorial by artist Kagiso Pat Mautloa that is positioned there, and the Johannesburg Women’s Jail at constitution Hill. Mautloa’s memorial is part of the important Sunday Times Heritage Project, and it commemorates the torture and imprisonment of political detainees. The transformation of the Women’s Jail into an activist and artistic space was curated by Churchill Madikida, Lauren Segal and Clive van den Berg. Through an analysis of these two spaces, I consider some of the tensions that arise in representing trauma and suffering in the public sphere and issues that arise from such tensions. How do artistic commemorations of trauma put viewers in the position of bearing witness to and upholding the memory of traumatic pasts? What is the most effective, or respectful, way to memorialise suffering? To what extent can visual culture help promote healing, recovery, and social change?
摘要本文探讨了种族隔离国家针对反种族隔离活动家的暴力事件所产生的艺术和活动家作品。更具体地说，它通过比较两个后种族隔离时代的纪念空间来考虑南非公共领域苦难的表现：约翰内斯堡中央警察局（前身为约翰·沃斯特广场）和艺术家卡吉索·帕特·毛特洛亚的纪念碑，以及宪法山的约翰内斯堡妇女监狱。Mautloa的纪念碑是重要的《星期日泰晤士报》遗产项目的一部分，它纪念政治犯遭受的酷刑和监禁。Churchill Madikida、Lauren Segal和Clive van den Berg策划了将女子监狱转变为活动家和艺术空间的活动。通过对这两个空间的分析，我考虑了在公共领域代表创伤和痛苦时出现的一些紧张关系，以及这种紧张关系引发的问题。对创伤的艺术纪念是如何让观众处于见证和维护创伤过去记忆的位置的？纪念苦难最有效或最尊重的方式是什么？视觉文化在多大程度上有助于促进治愈、康复和社会变革？
{"title":"“The Walls Are So Silent”: Spaces of Confinement and Gendered Meanings of Incarceration in South African Commemorative Art","authors":"Kim Miller","doi":"10.1080/00043389.2018.1481916","DOIUrl":"https://doi.org/10.1080/00043389.2018.1481916","url":null,"abstract":"Abstract This paper explores artistic and activist work that has arisen in response to episodes of violence committed by the apartheid state against anti-apartheid activists. More specifically, it considers representations of suffering in South Africa’s public sphere through a comparison of two post-apartheid commemorative spaces: the Johannesburg Central Police Station (formerly John Vorster Square) and a memorial by artist Kagiso Pat Mautloa that is positioned there, and the Johannesburg Women’s Jail at constitution Hill. Mautloa’s memorial is part of the important Sunday Times Heritage Project, and it commemorates the torture and imprisonment of political detainees. The transformation of the Women’s Jail into an activist and artistic space was curated by Churchill Madikida, Lauren Segal and Clive van den Berg. Through an analysis of these two spaces, I consider some of the tensions that arise in representing trauma and suffering in the public sphere and issues that arise from such tensions. How do artistic commemorations of trauma put viewers in the position of bearing witness to and upholding the memory of traumatic pasts? What is the most effective, or respectful, way to memorialise suffering? To what extent can visual culture help promote healing, recovery, and social change?","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1481916","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47305823","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1481911
Elizabeth P. Baltes
Abstract Monument Avenue, a national historic landmark in Richmond, Virginia, has long been famous for its grand portrait monuments honouring local Civil War “heroes.” In 1996, the memorial landscape changed radically with the addition of a bronze portrait statue of Arthur Ashe, a black American who was honoured for his accomplishments as an international tennis star, an author, and a humanitarian. The location and the design of Ashe’s portrait monument generated heated debate, and its ultimate inclusion on Monument Avenue was an attempt to challenge the traditional meaning of the space as a memorial to the Lost Cause of the Confederacy. In this article I trace how the racialised narrative of Monument Avenue has been constructed, challenged, upheld, and mediated throughout its long and troubled history. I begin by looking to antiquity both as a framework for understanding how statues have historically worked to construct and challenge cultural narratives and as a means of placing viewer reactions to portrait monuments in a broader historical context. Against this background, I argue that the portrait statue of Arthur Ashe ultimately failed to establish an effective counter-narrative to the traditional interpretation of Monument Avenue as a celebration of a white, Confederate past. Finally, I suggest that repeated small-scale interventions, often in the form of graffiti, have been more successful in confronting, mediating, and challenging the visual message Confederate monuments continue to embody.
{"title":"Challenging Narratives: Arthur Ashe and the Practice of Counter-Monumentality on Richmond’s Monument Avenue","authors":"Elizabeth P. Baltes","doi":"10.1080/00043389.2018.1481911","DOIUrl":"https://doi.org/10.1080/00043389.2018.1481911","url":null,"abstract":"Abstract Monument Avenue, a national historic landmark in Richmond, Virginia, has long been famous for its grand portrait monuments honouring local Civil War “heroes.” In 1996, the memorial landscape changed radically with the addition of a bronze portrait statue of Arthur Ashe, a black American who was honoured for his accomplishments as an international tennis star, an author, and a humanitarian. The location and the design of Ashe’s portrait monument generated heated debate, and its ultimate inclusion on Monument Avenue was an attempt to challenge the traditional meaning of the space as a memorial to the Lost Cause of the Confederacy. In this article I trace how the racialised narrative of Monument Avenue has been constructed, challenged, upheld, and mediated throughout its long and troubled history. I begin by looking to antiquity both as a framework for understanding how statues have historically worked to construct and challenge cultural narratives and as a means of placing viewer reactions to portrait monuments in a broader historical context. Against this background, I argue that the portrait statue of Arthur Ashe ultimately failed to establish an effective counter-narrative to the traditional interpretation of Monument Avenue as a celebration of a white, Confederate past. Finally, I suggest that repeated small-scale interventions, often in the form of graffiti, have been more successful in confronting, mediating, and challenging the visual message Confederate monuments continue to embody.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1481911","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41904340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1481913
Rangsook Yoon
Abstract This article outlines the history of the “comfort woman” statue from its emergence in Seoul to its incarnations in the United States up to the present moment. Its aim is to explore the debates regarding its installations and to account for shifting discursive fields with its changing localities from South Korea to the United States. Particular attention is paid to the controversies concerning “comfort woman” statues erected in Glendale, California; Southfield, Michigan; Brookhaven, Georgia; and San Francisco, California. In all cases, the cities encountered enormous pressures from the Japanese government, ultra-right-wing politicians and citizen groups. Resistance on the part of the Japanese government suggests ongoing efforts to systematically deny the wartime atrocities performed on women by its imperial predecessor and to silence the victim-survivors. The installations of the ‘comfort woman’ statues in the United States offer an opportunity for Asian diasporic communities with entangled World War II histories to resist such silencing and weave their own interstitial narratives.
{"title":"Erecting the “Comfort Women” Memorials: From Seoul to San Francisco","authors":"Rangsook Yoon","doi":"10.1080/00043389.2018.1481913","DOIUrl":"https://doi.org/10.1080/00043389.2018.1481913","url":null,"abstract":"Abstract This article outlines the history of the “comfort woman” statue from its emergence in Seoul to its incarnations in the United States up to the present moment. Its aim is to explore the debates regarding its installations and to account for shifting discursive fields with its changing localities from South Korea to the United States. Particular attention is paid to the controversies concerning “comfort woman” statues erected in Glendale, California; Southfield, Michigan; Brookhaven, Georgia; and San Francisco, California. In all cases, the cities encountered enormous pressures from the Japanese government, ultra-right-wing politicians and citizen groups. Resistance on the part of the Japanese government suggests ongoing efforts to systematically deny the wartime atrocities performed on women by its imperial predecessor and to silence the victim-survivors. The installations of the ‘comfort woman’ statues in the United States offer an opportunity for Asian diasporic communities with entangled World War II histories to resist such silencing and weave their own interstitial narratives.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1481913","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43618259","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1482049
Kim Miller, B. Schmahmann
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Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1481909
Erika Doss
Abstract Prejudicial public art is a visible yet often ignored social and cultural problem. Recently, however, it has commanded popular and mass media attention as increasing numbers of publics around the world have begun to grapple with its meanings and messages and take the history that it embodies to task. In September 2017, for example, New York mayor, Bill de Blasio, appointed a commission to advise him about “how the City should address monuments seen as oppressive and inconsistent with the values of New York City.” This essay focuses especially on how and why American publics in New York and elsewhere are reckoning with controversial examples of public art today.
摘要司法前的公共艺术是一个显而易见却常常被忽视的社会文化问题。然而，最近，它受到了大众和大众媒体的关注，因为世界各地越来越多的公众开始努力理解它的含义和信息，并对它所体现的历史提出质疑。例如，2017年9月，纽约市长比尔·白思豪（Bill de Blasio）任命了一个委员会，就“纽约市应该如何处理被视为压迫性的、与纽约市价值观不一致的纪念碑”向他提供建议。
{"title":"The Elephant in the Room: Prejudicial Public Art and Cultural Vandalism","authors":"Erika Doss","doi":"10.1080/00043389.2018.1481909","DOIUrl":"https://doi.org/10.1080/00043389.2018.1481909","url":null,"abstract":"Abstract Prejudicial public art is a visible yet often ignored social and cultural problem. Recently, however, it has commanded popular and mass media attention as increasing numbers of publics around the world have begun to grapple with its meanings and messages and take the history that it embodies to task. In September 2017, for example, New York mayor, Bill de Blasio, appointed a commission to advise him about “how the City should address monuments seen as oppressive and inconsistent with the values of New York City.” This essay focuses especially on how and why American publics in New York and elsewhere are reckoning with controversial examples of public art today.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1481909","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45298303","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1481915
A. Atkinson-Phillips
Abstract The Colebrook Reconciliation Park is Australia’s oldest and most extensive memorial to acknowledge the forced separation of Aboriginal children from their families and communities, known as the “Stolen Generations.” It covers the site of the former Colebrook Home, an institution for Aboriginal children from 1942–1972. In this paper, I argue that the Colebrook Reconciliation Park can be understood as an act of witness citizenship in which the experience of the Stolen Generations is presented as an ongoing challenge to the wider Australian public. Beginning with a small plaque installed in June 1997, the Park is now a multi-layered memory space that includes figurative sculptures, poetry, a walking path and a storytelling circle, as well as more practical features including a barbecue and toilet block. Closely linked to the history of the Park’s development is the history of the Blackwood Reconciliation Group and its connection to the Colebrook Tji Tji Tjuta, a survivors’ collective. This paper discusses the Colebrook Reconciliation Park as an expression of that evolving relationship. Taking the reader on a tour through the site, this paper explores how different parts of the site bear witness in different ways by emphasising distinct, sometimes contradictory, parts of the Colebrook story.
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Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1491109
Nicole Maurantonio
Abstract The act of defacing public monuments as a form of protest is by no means a new or a U.S.-based phenomenon. Roughly two weeks after white supremacists convened in Charlottesville, Virginia in August 2017 to protest the removal of Confederate monuments within the city, killing one counter-protester and wounding several others, however, an act of vandalism was reported in nearby Richmond, the former capital of the Confederacy, assuming an unusual form: two buckets of pine tar were poured over the base of the statue of Confederate General J. E. B. Stuart on the city's historic Monument Avenue. Analysing pine tar as a material resource to protest white supremacy, this essay argues that the use of pine tar engages with multiple, interlocking, yet at times competing, histories of race and racism across space and time. Invoking a series of historic and folkloric associations, the use of pine tar opened a space for the re-mediation of memory of the Lost Cause. Pine tar facilitated a cultural critique that materially inverted dominant narratives of Confederate heroism and valour while foregrounding narratives of black self-determination. Replete with semiotic possibility, tar, this essay suggests, offers particular opportunities in acts resisting oppressive structures and commemorative forms.
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Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1481914
Sierra Rooney
Abstract Since 2010, Korean-American communities, with the support of local governments, have sponsored ten “comfort women” memorials throughout the United States. This study focuses on the memorial statue dedicated in Glendale, California as a case study for the contentious politics of “comfort women” commemorations in distinctly American contexts. Dedicated in 2013, the Glendale Comfort Women Memorial became enmeshed in a heated controversy that resulted in a federal court case. Animated by the powerful affect of shame, the debate in which this memorial was embroiled reveals the desire to lay claim to memory on a geopolitical stage, engaging issues of gender and ethnic identities and global politics. This article argues that the Glendale Comfort Women Memorial demonstrates the ways memorials in a globalised society can be employed to assign moral culpability outside of official governmental channels and disseminate histories of oppression that might previously have been forgotten. In doing so, the memorial and the public controversy that ensued also expose the limits and complications of transnational commemorations in foreign settings.
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Pub Date : 2018-09-02DOI: 10.1080/00043389.2018.1481917
B. Schmahmann
Abstract Derived from a distinction that J. L. Austin drew between words that are “constative” and those that are “performative,” performativity, as Von Hantelmann (2014) explains, marks a shift in approach “from what an artwork depicts and represents to the effects and experiences that it produces.” In highlighting the interpretative process, it also emphasises meaning-making as relative. A concept central to much contemporary commemorative art, “performativity” could also be understood to be at play in the conceptualisation and interpretation of creative interventions to historical commemorative monuments and sculptures in South Africa. Through engagement with the P. T. O. initiative in Cape Town as well as two interventions to sculptures at universities, it is argued that creative mediations underpinned by a performative approach enable viewers to glean alternative perspectives about South African histories and arrive at new understandings about how their present circumstances may be informed by events from the past.
冯·汉特曼(2014)解释道，表演性源于j·l·奥斯汀(J. L. Austin)对“构成性”(constative)和“表现性”(performative)这两个词的区分，标志着一种方法的转变，“从一件艺术品所描绘和表现的东西，到它所产生的效果和体验。”在强调解释过程的同时，它也强调意义的形成是相对的。作为许多当代纪念艺术的核心概念，“表演性”也可以被理解为在概念化和解释南非历史纪念纪念碑和雕塑的创造性干预中发挥作用。通过参与开普敦的p.t.o.倡议，以及对大学雕塑的两次干预，作者认为，以表演方式为基础的创造性调解，使观众能够收集有关南非历史的不同视角，并对过去的事件如何影响他们的现状产生新的理解。
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