IF 0.1

De Arte Pub Date : 2019-01-02 DOI: 10.1080/00043389.2019.1582833

Thabang Monoa

引用次数: 0

“The Walls Are So Silent”: Spaces of Confinement and Gendered Meanings of Incarceration in South African Commemorative Art “墙是如此的沉默”：南非纪念艺术中的监禁空间和监禁的性别意义

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1481916

Kim Miller

{"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":"53 1","pages":"122 - 141"},"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}

引用次数: 1

Challenging Narratives: Arthur Ashe and the Practice of Counter-Monumentality on Richmond’s Monument Avenue 挑战性叙事：阿瑟·阿什与里士满纪念碑大道上的反纪念碑实践

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1481911

Elizabeth P. Baltes

{"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":"53 1","pages":"31 - 50"},"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}

引用次数: 0

Troubling Histories: Public Art and Prejudice – An Introduction 纠结的历史：公共艺术与偏见——导论

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1482049

Kim Miller, B. Schmahmann

引用次数: 0

Erecting the “Comfort Women” Memorials: From Seoul to San Francisco 树立“慰安妇”记忆：从首尔到旧金山

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1481913

Rangsook Yoon

引用次数: 2

The Elephant in the Room: Prejudicial Public Art and Cultural Vandalism 房间里的大象:有偏见的公共艺术和文化破坏

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1481909

Erika Doss

引用次数: 1

Commemoration as Witnessing: 20 Years of Remembering the Stolen Generations at Colebrook Reconciliation Park 作为见证的纪念：在科尔布鲁克和解公园纪念被偷走的一代20年

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1481915

A. Atkinson-Phillips

{"title":"Commemoration as Witnessing: 20 Years of Remembering the Stolen Generations at Colebrook Reconciliation Park","authors":"A. Atkinson-Phillips","doi":"10.1080/00043389.2018.1481915","DOIUrl":"https://doi.org/10.1080/00043389.2018.1481915","url":null,"abstract":"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.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"53 1","pages":"103 - 121"},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1481915","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47876359","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}

引用次数: 1

Tarred by History: Materiality, Memory, and Protest 被历史玷污：物质性、记忆与抗议

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1491109

Nicole Maurantonio

{"title":"Tarred by History: Materiality, Memory, and Protest","authors":"Nicole Maurantonio","doi":"10.1080/00043389.2018.1491109","DOIUrl":"https://doi.org/10.1080/00043389.2018.1491109","url":null,"abstract":"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.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"53 1","pages":"51 - 69"},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1491109","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43153976","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}

引用次数: 2

The Politics of Shame: The Glendale Comfort Women Memorial and the Complications of Transnational Commemorations 耻辱的政治:格伦代尔慰安妇纪念碑和跨国纪念的复杂性

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1481914

Sierra Rooney

{"title":"The Politics of Shame: The Glendale Comfort Women Memorial and the Complications of Transnational Commemorations","authors":"Sierra Rooney","doi":"10.1080/00043389.2018.1481914","DOIUrl":"https://doi.org/10.1080/00043389.2018.1481914","url":null,"abstract":"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.","PeriodicalId":40908,"journal":{"name":"De Arte","volume":"53 1","pages":"102 - 86"},"PeriodicalIF":0.1,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/00043389.2018.1481914","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44756231","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}

引用次数: 1

Monumental Mediations: Performative Interventions to Public Commemorative Art in South Africa 纪念碑调解：南非公共纪念艺术的表演干预

IF 0.1

De Arte Pub Date : 2018-09-02 DOI: 10.1080/00043389.2018.1481917

B. Schmahmann

引用次数: 1

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