Pub Date : 2020-03-16DOI: 10.5149/northcarolina/9781469655086.003.0005
P. Farber
In 1984, poet Audra Lorde came to West Berlin with questions about U.S. geopolitics in an era of reaccelerated Cold War tensions and antagonisms as well as growing frustration with U.S. military incursions abroad and social divides at home. Lorde established divided Berlin as a place of return as she built on previously uncharted diasporic solidarities and created forms of poetry that transcended borders between women writers. Her book, Our Dead Behind Us (1986), as well as other poetry, journal entries, and prose marked her first of many attempts to render the divided city as a space of critical connection that was ripe for intervention. This chapter reads her publicly circulating work in order to view how multiple layers of revision and editorial selection inform her geopolitical views—for example, how, when, and if Lorde depicts the Berlin Wall in order to reflect on broader themes and moments she encounters in her time in divided Berlin. Lorde’s poetry can be understood in conversation with broader discourses on memory and border politics.
{"title":"Midnight Crossings","authors":"P. Farber","doi":"10.5149/northcarolina/9781469655086.003.0005","DOIUrl":"https://doi.org/10.5149/northcarolina/9781469655086.003.0005","url":null,"abstract":"In 1984, poet Audra Lorde came to West Berlin with questions about U.S. geopolitics in an era of reaccelerated Cold War tensions and antagonisms as well as growing frustration with U.S. military incursions abroad and social divides at home. Lorde established divided Berlin as a place of return as she built on previously uncharted diasporic solidarities and created forms of poetry that transcended borders between women writers. Her book, Our Dead Behind Us (1986), as well as other poetry, journal entries, and prose marked her first of many attempts to render the divided city as a space of critical connection that was ripe for intervention. This chapter reads her publicly circulating work in order to view how multiple layers of revision and editorial selection inform her geopolitical views—for example, how, when, and if Lorde depicts the Berlin Wall in order to reflect on broader themes and moments she encounters in her time in divided Berlin. Lorde’s poetry can be understood in conversation with broader discourses on memory and border politics.","PeriodicalId":422639,"journal":{"name":"A Wall of Our Own","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124389050","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 : 2020-03-16DOI: 10.5149/northcarolina/9781469655086.003.0006
P. Farber
The destruction of the Berlin Wall on November 9, 1989 left citizens of East and West Berlin, and others around the world, in disbelief. The Wall’s destruction quickly drew the attention and involvement of American cultural figures and others who identified with the events in Berlin as sites of division and transformation. After 1989, artists powerfully adapted their approaches, embarking on new projects with a set of questions probing the redefining of the United States and Germany as each shifted away from Cold War dynamics. The “American Berliners” of this book offered post-1989 reflections and works that focused on emergent forms of collective memory in Berlin to gather additional histories and mark uneven flows of progress amid the spectacle of the border’s dismantling. The conclusion provides an overview of the Wall’s destruction and some of these projects.
{"title":"Returns","authors":"P. Farber","doi":"10.5149/northcarolina/9781469655086.003.0006","DOIUrl":"https://doi.org/10.5149/northcarolina/9781469655086.003.0006","url":null,"abstract":"The destruction of the Berlin Wall on November 9, 1989 left citizens of East and West Berlin, and others around the world, in disbelief. The Wall’s destruction quickly drew the attention and involvement of American cultural figures and others who identified with the events in Berlin as sites of division and transformation. After 1989, artists powerfully adapted their approaches, embarking on new projects with a set of questions probing the redefining of the United States and Germany as each shifted away from Cold War dynamics. The “American Berliners” of this book offered post-1989 reflections and works that focused on emergent forms of collective memory in Berlin to gather additional histories and mark uneven flows of progress amid the spectacle of the border’s dismantling. The conclusion provides an overview of the Wall’s destruction and some of these projects.","PeriodicalId":422639,"journal":{"name":"A Wall of Our Own","volume":"10 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130251055","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 : 2020-03-16DOI: 10.5149/northcarolina/9781469655086.003.0001
P. Farber
On February 22, 1962, Attorney General Robert F. Kennedy spoke at the Berlin Wall. In his speech, Kennedy located Cold War Berlin as both an outpost and extension of the divided landscapes of American culture. He acknowledged the Berlin Wall in reference to hostile and entrenched racial divides within the United States, referring to the latter as “our wall.” Farber argues Kennedy’s statement can be read as part of a much larger cultural dialogue that had quickly started to unfold in the 1960s as American artists, writers, and activists began drawing attention to the connections between the Berlin Wall and barriers in U.S. democracy. The book traces the Berlin Wall as a site of pilgrimage for critical American cultural producers who confronted the contradictions of U.S. Cold War policy and practice while in Berlin. The introduction lays out Farber’s framework, methodology, and main figures in the book.
{"title":"Roadmap","authors":"P. Farber","doi":"10.5149/northcarolina/9781469655086.003.0001","DOIUrl":"https://doi.org/10.5149/northcarolina/9781469655086.003.0001","url":null,"abstract":"On February 22, 1962, Attorney General Robert F. Kennedy spoke at the Berlin Wall. In his speech, Kennedy located Cold War Berlin as both an outpost and extension of the divided landscapes of American culture. He acknowledged the Berlin Wall in reference to hostile and entrenched racial divides within the United States, referring to the latter as “our wall.” Farber argues Kennedy’s statement can be read as part of a much larger cultural dialogue that had quickly started to unfold in the 1960s as American artists, writers, and activists began drawing attention to the connections between the Berlin Wall and barriers in U.S. democracy. The book traces the Berlin Wall as a site of pilgrimage for critical American cultural producers who confronted the contradictions of U.S. Cold War policy and practice while in Berlin. The introduction lays out Farber’s framework, methodology, and main figures in the book.","PeriodicalId":422639,"journal":{"name":"A Wall of Our Own","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129032792","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 : 2020-03-16DOI: 10.5149/northcarolina/9781469655086.003.0003
P. Farber
In 1966, Black activist Angela Davis crossed the wall’s boundary into East Berlin as a philosophy graduate student. Davis spent most of her time in East Berlin and later channelled her experiences on both sides of the border toward becoming a leading voice contesting walls in the U.S. prison system. To explore Davis’s own evolution as a writer and activist concerned with dividing walls, this chapter reviews the representations of East and West Berlin in the mid-1960s and beyond. The chapter then looks at how Davis developed and delivered the Wall as a symbol, throughout the course of her writing in multiple projects and culminating in her autobiography. Finally, the chapter looks to both the production and circulation of her autobiography as opportunities to place this reference into a broader framework of Davis’s transitional activism and solidarity through circuits of alternative diplomacy. In her writing, Davis transforms the Berlin Wall into a symbol of Western repression or ignores it entirely. In doing so, she inverts the expected tale of intrigue, danger, and despair in East Berlin toward her own political projects contesting American division.
{"title":"Walls Turned Sideways are Bridges","authors":"P. Farber","doi":"10.5149/northcarolina/9781469655086.003.0003","DOIUrl":"https://doi.org/10.5149/northcarolina/9781469655086.003.0003","url":null,"abstract":"In 1966, Black activist Angela Davis crossed the wall’s boundary into East Berlin as a philosophy graduate student. Davis spent most of her time in East Berlin and later channelled her experiences on both sides of the border toward becoming a leading voice contesting walls in the U.S. prison system. To explore Davis’s own evolution as a writer and activist concerned with dividing walls, this chapter reviews the representations of East and West Berlin in the mid-1960s and beyond. The chapter then looks at how Davis developed and delivered the Wall as a symbol, throughout the course of her writing in multiple projects and culminating in her autobiography. Finally, the chapter looks to both the production and circulation of her autobiography as opportunities to place this reference into a broader framework of Davis’s transitional activism and solidarity through circuits of alternative diplomacy. In her writing, Davis transforms the Berlin Wall into a symbol of Western repression or ignores it entirely. In doing so, she inverts the expected tale of intrigue, danger, and despair in East Berlin toward her own political projects contesting American division.","PeriodicalId":422639,"journal":{"name":"A Wall of Our Own","volume":"313 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117065461","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 : 2020-03-16DOI: 10.5149/northcarolina/9781469655086.003.0002
P. Farber
In late August 1961, Jewish American photojournalist Leonard Freed visited the Berlin Wall. His chance encounter with an unnamed Black soldier, who he photographed, guarding the newly erected wall inspired his new project: mapping lines and lineages of racial segregation in the United States. This chapter explores Freed’s movements in and out of Berlin during the early years of the Berlin Wall, with an eye toward locating the single-shot image of a Black GI within the broader currents of cultural history. It first delves into the larger context of the Berlin crisis and the walling of Berlin by means of cultural productions, texts, and voices that sought to connect the German wall with the lined and legacies of American segregation. Second, it looks to how Freed’s development as a photographer informed his understanding of geopolitical division and identification in the context of transnational geopolitics and cultural memory. Finally, the chapter closes with a consideration of Freed’s Black in White America (1967/8) and Made in Germany (1970). Freed’s images suggest he viewed the American post-WWII democratic project as a fragile construct.
{"title":"Segregated Sectors","authors":"P. Farber","doi":"10.5149/northcarolina/9781469655086.003.0002","DOIUrl":"https://doi.org/10.5149/northcarolina/9781469655086.003.0002","url":null,"abstract":"In late August 1961, Jewish American photojournalist Leonard Freed visited the Berlin Wall. His chance encounter with an unnamed Black soldier, who he photographed, guarding the newly erected wall inspired his new project: mapping lines and lineages of racial segregation in the United States. This chapter explores Freed’s movements in and out of Berlin during the early years of the Berlin Wall, with an eye toward locating the single-shot image of a Black GI within the broader currents of cultural history. It first delves into the larger context of the Berlin crisis and the walling of Berlin by means of cultural productions, texts, and voices that sought to connect the German wall with the lined and legacies of American segregation. Second, it looks to how Freed’s development as a photographer informed his understanding of geopolitical division and identification in the context of transnational geopolitics and cultural memory. Finally, the chapter closes with a consideration of Freed’s Black in White America (1967/8) and Made in Germany (1970). Freed’s images suggest he viewed the American post-WWII democratic project as a fragile construct.","PeriodicalId":422639,"journal":{"name":"A Wall of Our Own","volume":"152 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114307325","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 : 2020-03-16DOI: 10.5149/northcarolina/9781469655086.003.0004
P. Farber
From the late 1960s through mid-1980s, Japanese American sculptor Shinkichi Tajiri taught as an expatriate art professor in West Berlin and extensively documented the wall during its process of structural revamping and aesthetic makeover. His photographic survey brought him closer to his family’s history of internment during WWII and his experience as a veteran while experiencing racial hostility. His project, The Wall Die Mauer Le Mur (1971), represented the Wall as an architectural symbol of a divided world and the partitions suggestive of the history of the United States. This chapter explores how Tajiri’s survey of the Wall with an eye toward its unwieldy structural qualities and exploration of his own artistic and expatriate identity led him to considerations of American power and presence by the Berlin Wall. This approach drew on the interlinked historical experiences, artistic practices, and architectural evolutions of the border. The chapter ends by exploring Tajiri’s multiple approaches to documenting the Berlin Wall, including film and images. His recurrent focus on the border signage of the American sectors brings his experience as an artist and soldier in relation to the effects of U.S. militarism.
从20世纪60年代末到80年代中期，日裔美国雕塑家田尻新一(Shinkichi Tajiri)在西柏林担任外籍艺术教授，并广泛记录了柏林墙的结构改造和美学改造过程。他的摄影调查使他更接近他的家庭在二战期间被拘留的历史，以及他作为一名经历种族敌意的退伍军人的经历。他的作品《The Wall Die Mauer Le Mur》(1971)将柏林墙描绘成一个分裂世界的建筑象征，并暗示了美国的历史。本章探讨了田尻对柏林墙的审视，他着眼于柏林墙笨重的结构质量，探索自己的艺术和侨民身份，这使他考虑到美国的力量和柏林墙的存在。这种方法借鉴了相互关联的历史经验、艺术实践和边界的建筑演变。本章以探索田尻记录柏林墙的多种方法结束，包括电影和图像。他反复关注美国部门的边界标志，将他作为艺术家和士兵的经历与美国军国主义的影响联系起来。
{"title":"Scaling the Wall","authors":"P. Farber","doi":"10.5149/northcarolina/9781469655086.003.0004","DOIUrl":"https://doi.org/10.5149/northcarolina/9781469655086.003.0004","url":null,"abstract":"From the late 1960s through mid-1980s, Japanese American sculptor Shinkichi Tajiri taught as an expatriate art professor in West Berlin and extensively documented the wall during its process of structural revamping and aesthetic makeover. His photographic survey brought him closer to his family’s history of internment during WWII and his experience as a veteran while experiencing racial hostility. His project, The Wall Die Mauer Le Mur (1971), represented the Wall as an architectural symbol of a divided world and the partitions suggestive of the history of the United States. This chapter explores how Tajiri’s survey of the Wall with an eye toward its unwieldy structural qualities and exploration of his own artistic and expatriate identity led him to considerations of American power and presence by the Berlin Wall. This approach drew on the interlinked historical experiences, artistic practices, and architectural evolutions of the border. The chapter ends by exploring Tajiri’s multiple approaches to documenting the Berlin Wall, including film and images. His recurrent focus on the border signage of the American sectors brings his experience as an artist and soldier in relation to the effects of U.S. militarism.","PeriodicalId":422639,"journal":{"name":"A Wall of Our Own","volume":"87 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121153066","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}
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