Fallen Monuments And Contested Memorials

Fallen Monuments and Contested Memorials examines how the modification, destruction, or absence of monuments and memorials can be viewed as performative acts that challenge prescribed, embodied narratives in the public realm. Bringing together international, multidisciplinary approaches, the chapters in this volume interrogate the ways in which memorial constructions disclose implicitly and explicitly the proxy battle for public memory and identity, particularly since 2015. Acknowledging the ways in which the past — which is given agency through monuments and memorials — intrudes into daily life, this volume offers perspectives from researchers that answer questions about the roles of monuments and memorials as persistent, yet mutable, works whose meanings are not fixed but are, rather, subject to processes of continual re-interpretation. By using monuments and memorials as lenses through which to view race, memory, and the legacies of war, power, and subjugation, this volume demonstrates how these works, and their visible representations of entitlement, possession, control, and authority, can offer the opportunity to pose and answer questions about whose memory matters and what our symbols say about who we are and what we value. Fallen Monuments and Contested Memorials is essential reading for scholars and students studying cultural heritage, history, art history, and public history. It will be particularly useful to those with an interest in public monuments and memorials; colonial and post-colonial history; memory studies; and nationalism, race, and ethnic studies.

An Economist Best Book of the Year In this timely and lively look at the act of toppling monuments, the popular historian and author of Blood and Sand explores the vital question of how a society remembers—and confronts—the past. In 2020, history came tumbling down. From the US and the UK to Belgium, New Zealand, and Bangladesh, Black Lives Matter protesters defaced, and in some cases, hauled down statues of Confederate icons, slaveholders, and imperialists. General Robert E. Lee, head of the Confederate Army, was covered in graffiti in Richmond, Virginia. Edward Colston, a member of Parliament and slave trader, was knocked off his plinth in Bristol, England, and hurled into the harbor. Statues of Christopher Columbus were toppled in Minnesota, burned and thrown into a lake in Virginia, and beheaded in Massachusetts. Belgian King Leopold II was set on fire in Antwerp and doused in red paint in Ghent. Winston Churchill’s monument in London was daubed with the word “racist.” As these iconic effigies fell, the backlash was swift and intense. But as the past three hundred years have shown, history is not erased when statues are removed. If anything, Alex von Tunzelmann reminds us, it is made. Exploring the rise and fall of twelve famous, yet now controversial statues, she takes us on a fascinating global historical tour around North America, Western and Eastern Europe, Latin America and Asia, filled with larger than life characters and dramatic stories. Von Tunzelmann reveals that statues are not historical records but political statements and distinguishes between statuary—the representation of “virtuous” individuals, usually “Great Men”—and other forms of sculpture, public art, and memorialization. Nobody wants to get rid of all memorials. But Fallen Idols asks: have statues had their day?

The Mighty Fallen is a beautiful, evocative presentation of more than 150 never-before-seen photographs of the nation's greatest monuments and war memorials, along with text that describes the memorials and tells their stories. This extraordinary collection calls attention to the power of memory and the ways in which we immortalize people and events. As Larry Bond notes in the Introduction, "Memories of a war or battle are unpleasant, but few veterans would want them erased." This book is a unique tribute to veterans and a commemoration of some of the most significant conflicts in our history. Most battlefields leave little record of the historic confrontations that occurred there. Those who fought in epic struggles want us to remember not just the outcome, but the cost of victory and those who paid the price for the freedoms we enjoy today. Memories fade, so we raise monuments of stone and bronze to carry their message of sacrifice through the centuries. The Iwo Jima Memorial and the Vietnam Veterans Memorial in Washington DC are instantly recognizable, but there are monuments all over North America honoring more than 300 years of military service. The Mighty Fallen shows you hundreds of monuments, memorials, and statues conveying the message their designers wanted you to hear—these are more than just a date and location.

"As communities wrestle with the history of racism, the display of symbols such as Confederate statues and the flag itself is hotly debated across the country. Explore why many believe such symbols should be left in the past"--

This edited collection looks at ruins and vacant buildings as part of South Africa’s oppressive history of colonialism and apartheid and ways in which the past persists into the present

Ventriloquism, Performance, and Contemporary Art volume calls attention to the unexpected prevalence of ventriloqual motifs and strategies within contemporary art. Engaging with issues of voice, embodiment, power, and projection, the case studies assembled in this volume span a range of media from painting, sculpture, and photography to installation, performance, architecture, and video. Importantly, they both examine and enact ventriloqual practices, and do so as a means of interrogating and performatively bearing out contemporary conceptions of authorship, subjectivity, and performance. Put otherwise, the chapters in this book oscillate seamlessly between art history, theory, and criticism through both analytical and performative means. Across twelve essays on ventriloquism in contemporary art, the authors, who are curators, historians, and artists, shine light on this outdated practice, repositioning it as a conspicuous and meaningful trend within a range of artistic practices today. This book will be of interest to scholars working in art history, contemporary art, media studies, performance, museum/curatorial studies, and theater.

This book takes the urban space as a starting point for thinking about practices, actors, narratives, and imaginations within articulations of memory. The social protests and mobilizations against colonial statues are examples of how past injustice and violence keep on shaping debates in the present. Following an interdisciplinary approach, the contributions to this book focus on the in/visibility and affective power of monuments and traces through political, activist, and artistic contestations in different geographical settings. They show that memories are shaped in contact zones, most often in conflict and within hierarchical social relations. The notion of decentered memory shifts the perspective to relationships between imperial centers and margins, remembrance and erasure, nationalistic tendencies and migration. This plurality of connections emerges around unfinished histories of violence and resistance that are reflected in monuments and traces.

Excerpt from Memorials and Monuments, Old and New: Two Hundred Subjects Chosen From Seven Centuries After the war in South Africa hundreds of monuments of all kinds were set up, in thankful remembrance of those who there gave up their lives. Nine years later Sir James Gildea under took the pious task Of illustrating in For Remembrance: South A fried 1899 - 1902 a con siderable number of them, some set up to regiments and others to individual officers. He succeeded in his chief purpose, which was one of grateful record, but the result revealed the exceeding poverty of memorial design in Great Britain. It is clear that the artistic ability of the men Who build and adorn our churches and public buildings is not employed as it should be on the memorials which they so often contain. In the seventeenth and eighteenth centuries there was a sound tradition which gave pleasant shape to divers sorts of memorials, Whether brasses, incised slabs, wall tablets, tombs or headstones. To-day many of the persons who are curiously called. Monu mental masons bring to their task neithereducated taste nor the knowledge of good historical examples they are often, moreover, incompetent in their craftsmanship. The more important shops which purvey marble monu ments are, if anything, rather worse, for they stereotype bad designs, which are the more offensive because more ambitious and costly. The clerical tailors who sell most of the engraved brasses have mainly succeeded in making that form of memorial the most dreary. All three sources of supply have added a new terror to death. In earlier days, when monuments were not only honourable memorials of the dead, but works of art which gave joy to the living, the finest skill of architects and sculptors, working together, went to their making. The purpose of this book is not so much to provide a historical account of the development of those types of memorials which are the most suitable for present use, as to focus attention on good examples, old and new. That is not to say that old forms Should be Copied exactly we are not so bankrupt of invention that we need be driven that way - but they give valuable guidance as to proportion, use of materials, spacing of lettering and the like. The new works are illustrated to Show that their designers have paid homage to sound traditions and have brought new thought to the solution of difficult problems. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.