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REQUIRED: Jordon will  present some highlighted sections from Public Art Tool Kit.

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REQUIRED: Jordon will  present some highlighted sections from Public Art Tool Kit.

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by the Creative City Network of Canada

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Hanna Kujawa will lead a discussion around the following article by Max Haven.

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sonia - additional reading referred to in the intro 

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sonia - additional reading referred to in the intro 

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I'm intrested to lead the discussion on this topic.

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Presentation for Class

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Carrie Allison The Shubenacadie River Beading Project

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Carrie Allison The Shubenacadie River Beading Project

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The Shubenacadie River Beading Project

The Shubenacadie River cuts through the middle of Nova Scotia; running from the Minas Basin to downtown Dartmouth. Once used by the Mi'kmaq to traverse the territory for trade and fishing, the government state and Alton Gas are now threatening the rivers system and fragile life. Alton Gas proposes to install two salt caverns, which could amount to as many as fifteen, that will store natural gas. This project is in direct violation of the Peace and Friendship Treaty agreements that still govern the lands of the Mi'kmaq, infringing on their inherit right to fish and maintain their lifestyle. These caverns will create huge quantities of salt brine that will be disposed of by dumping it into the Shubenacadie River causing irreversible environmental damage to the rivers ecosystem.

The Shubenacadie River Beading Project is an activist/community project, beaded in the company and with guidance from the water protectors of the Stop Alton Gas group, their allies, and other members of the community. This community-based project stands in solidarity with water protectors and the Stop Alton Gas group; who actively occupied space along the Shubenacadie River, for years, to protect and protest the destruction of the rivers' ecosystem by the environmental threat Alton Gas posed. The beading project is an honouring of the river space and the rivers' life system. Many hands join together and bead the space of the river, culminating in a ten-meter beading of the Shubenacadie River. The intention is for participants, Indigenous and non-Indigenous, to come together and collectively honour the space of the Shubenacadie River. This is an exercise in building treaty relations between settler and Indigenous nations, and humans to mother earth. Group activities, such as this, foster storytelling, sharing, engagement, and collective making activating Indigenous research methodologies. This approach is designed to assist with Stop Alton Gas group's purpose in bringing awareness to the cause through a group shared activity.

In April 2019 the river pieces were auctioned off to raise funds for Stop Alton Gas' legal funds with the specific request coming from the community to do so.

Photo Credit: Séamus Gallagher

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Shubenacadie River Beading Project - Carrie Allison

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The Shubenacadie River cuts through the middle of Nova Scotia; running from the Minas Basin to downtown Dartmouth. Once used by the Mi'kmaq to traverse the territory for trade and fishing, the government state and Alton Gas are now threatening the rivers system and fragile life.

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Class Visitor on-line:                                   Jamie MacLellan, Regional Events and Cultural Initiatives, HRM.  Jamie will be here to answer questions concerning public art initiatives in the HRM.  Have a look at the Public Art Policy for Halifax below and prepare a question for Jamie MacLellan. It could be about a specific work.

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Class Visitor on-line:                                   Jamie MacLellan, Regional Events and Cultural Initiatives, HRM.  Jamie will be here to answer questions concerning public art initiatives in the HRM.  Have a look at the Public Art Policy for Halifax below and prepare a question for Jamie MacLellan. It could be about a specific work.

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Sonia Chow will lead a discussion around:   Reimagining Monuments to Make Them Resonate Locally and Personally

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This is not an act of vandalism. It is a work of public art and an act of applied art criticism. We have no intent to damage a mere statue. The true damage lies with patriarchy, white supremacy, and settler-colonialism embodied by the statue.
- October 2017 manifesto issued by the Monument Removal Brigade

Robert E. Lee never asked for them. Harvard-based public artist Krzysztof Wodiczko slyly proposes sending all of them to re-education camps. MRB imagines a day when they are "moldering away as a ruin in the trash-heap of history." But the current and increasingly heated debate over how to represent our troubled, violently charged past (though hardly actually past) is merely the latest wave of an ongoing confrontation about whose history matters. The question that is still in need of an answer regarding the debate over public memorials that celebrate patriarchy, white supremacy, and settler-colonialism is not about what part of the nation's past should be eliminated from view, but how we acknowledge the complex and often conflicted histories - good, bad, and ugly - that actually make up our collective experience. In truth, the current face-off is the culmination of several centuries in which the way history has been memorialized consistently reflected the interests of business leaders, municipal power brokers, wealthy arts patrons, and even main-stream academics. Significantly however, it also bears the marks of another, decades-old set of forces that includes socially engaged artists and community activists who have confronted, reinvented, and in some instances put into practice temporary interventions and performance works that challenge dominant forms of historical representation.

Opinions vary about what to do with these objects. They range from a desire to wipe the slate clean by removing all public memories of the Confederacy and white supremacy, to cloaking such monumental works beneath black tarp, much as the group Decolonize This Place - a coalition that includes Native American and Palestinian-rights activists - did last fall (October 14, 2016) with the Theodore Roosevelt monument outside the American Museum of Natural History. No, Roosevelt was not a Southern rebel; nevertheless, his equestrian statue is no less offensive. The 26th US President and former NYC Police Superintendent is depicted by artist James Earle Fraser with masculine vitality astride a horse. Head tilted back and eyes fixed on a distant horizon he wears his signature Rough Rider uniform from the Spanish American War. Flanking Roosevelt's right side is an American Native chief, while on his left strides an African man in sandals and what appears to be a Maasai warrior's Shuka robe. According to former Executive Director for the National Foundation for Advancement in the Arts, A. L. Freundlich, these accompanying figures are guides symbolizing Roosevelt's "interest in the natural world." According to Decolonize This Place, "New York's premier scientific museum continues to honor the bogus racial classification that assigned colonized peoples to the domain of Nature, and Europeans to the realm of Culture," adding that "a monument that appears to glorify racial hierarchies should be retired from public view."

Still, there are other, equally engaging methods for confronting offensive historical monuments, such as marking the absence of public memorials to the 99% of us who have been forgotten or even erased from most urban spaces. These people include the laborers who built the city, the street urchins whose tears have soaked its pavements, and all generations of common people lacking the political or economic advantages of those who typically lay claim to management of our public memories.

In 1992, five hundred years after Christopher Columbus came to the so-called new world and twenty five years before the current crisis of historical representation, a group of over thirty metal street signs with images and texts appeared in downtown Manhattan marking the forgotten, or often altogether unknown histories of working women, African Americans, Native peoples, Latinos and Asian Americans among other marginalized groups. The project was created by REPOhistory, a multi-ethnic group of artists, educators and activists whose mission was to "retrieve and relocate absent historical narratives at specific locations in the New York City." With one-year permits from the Department of Transportation and support from the Lower Manhattan Cultural Council, the Municipal Art Society and the administration of Mayor David Dinkins, REPOhistory installed, and later de-installed, a suite of what we might call today "alt-historical" public markers attached to lampposts and traffic signs roughly between Chambers and Wall Streets.

One plaque marked the site of the first meal and slave market at the corner of Wall and Water Streets, another described what was then the very recent discovery of a "Negro Burial Ground" at the construction site for a new federal office building. Still others detailed the first all-women's strike in the United States by the United Tailoresses Society near Church Street, the first Chinese American community in the city once located at the South Street Seaport, John Jacob Astor's "problematic exchanges -commercial, ecological and spiritual" with Native Americans at his former headquarters on the north side of Pine between William and Pearl Streets, and still another temporary marker recalled the melting down of a gilded equestrian statue depicting King George III whose metal was molded into bullets later used during the War of Independence. Not all of the signs dwelt exclusively on the past. Outside the NY Stock Exchange REPOhistory installed a plaque that ironically cautioned passersby about the "advantages of an unregulated free-market economy." It was illustrated with an image of a businessman in free-fall that recalled the Great Crash of 1929.

REPOhistory initially set its sights on creating a public intervention at "The Four Continents" by Daniel Chester French, a quartet of marble statues portraying allegories of Europe, Asia, Africa, and the Americas situated outside the former Alexander Hamilton US Custom House at One Bowling

Green. Asia is presented as a bejeweled woman stoically siting atop a throne supported by human skulls and surrounded by near-naked, emaciated serfs. A glowing cross appears behind her back as if to indicate Christian values will soon replace Asia's despotic past. Far to the left sits Africa. Though fabric drapes her waist she is characterized as a slumbering nude figure propped-up by an eroded Egyptian sphinx and a male lion. By contrast, Europe is illustrated as a stately, fully clothed woman next to a section of the Parthenon frieze, while America sits holding a torch and an ear of corn with her foot pressing down upon the head of Quetzalcoatl, the flying serpent god of the conquered Aztecs.

Despite being erected in 1907, " The Four Continents " reflects the derogatory racist outlook of 19th Century Manifest Destiny, just as the Roosevelt statue, dedicated in 1940, made its appearance while lynchings were being carried out across the Jim Crow South, and while Northern whites rioted to maintain racially segregated jobs and neighborhoods in Chicago, Detroit, and Los

Angeles. Less known is the fact that African-American arctic explorer Matthew A. Henson, who is today recognized as having first reached the actual North Pole ahead of Admiral Robert Peary in 1909, later returned to the United States and worked the next thirty years as a customs house clerk. Whereas Peary was credited with the accomplishment, receiving international honors, an official Congressional thank you, and promoted to the rank of rear admiral, no marker or sign indicates Henson's presence at Bowling Greene, though a modest plaque does mark his gravesite in Arlington Virginia.

In 1989, REPOhistory drew up plans to create inflatable "counter-monuments" that they would install illegally, in guerrilla art fashion, to confront this monument. Ultimately however, REPOhistory abandoned this interventionist historical adjustment to focus on their Lower Manhattan Sign Project scheduled for 1992. So what was the outcome of the counter-Columbus experiment in "people's history"? It was mixed, unexpected, convoluted - just like the city that produced the project. Still, the point of REPOhistory was not nostalgia for a lost past, but rather an attempt to recognize that some histories disturb the present.

Several years later the group received Department of Transportation (DOT) permission to temporarily memorialize gay, lesbian, and trans-gendered people's histories, this time in Greenwhich Village, with assistance from the Storefront for Art and Architecture. However, the project entitled "Queer Spaces" would be the last time that obtaining permission from the city would come easily for them. A third street sign project in 1998 was initially blocked by the Giuliani administration. "Civil Disturbances: Battles For Justice in New York City" was produced in partnership with New York Lawyers for the Public Interest. Its objective was to mark sites where significant legal confrontations led to the extension of civil rights for the politically and economically disfranchised. REPOhistory marked the firehouse at 250 Livingston Street in Brooklyn where Brenda Berkman worked after winning a lawsuit to become the city's first female fire fighter, and one African-American group member who had been part of a de-segregation court case in New York posted her sign about the case outside the offices of the NAACP's Legal Defense and Educational Fund on West 40th Street. Meanwhile, several other signs directly decried the NYPD's history of misconduct and violence towards people of color. Carrying ladders and installation tools the DOT faxed a note informing REPOhistory it was not to carry out the project only moments before its commencement. "Now the signs may end up in the very courthouses that inspired them," wrote David Gonzalez in the New York Times the next morning.

REPOhistory had its day in court and eventually prevailed, thanks to pro bono assistance from Debevoise & Plimpton. A few months delayed, the group's "Civil Disturbances" sign project went up for one year, though not without further battles. All of this history may offer one answer to the question of what should replace monuments to racism and Confederate defection. Meanwhile, REPOhistory is not the only example of artists confronting the way the past is depicted.

In 1990, Mohawk artist Alan Michelson placed forty cast concrete markers near City Hall in Manhattan to indicate the location of Collect Pond, a large source of freshwater for the island's indigenous population that is now completely paved over. In 2009 African American artist Dread Scott donned a sign with the phrase "I AM NOT A MAN" printed on it, replicating the iconic message placards carried by striking, black Memphis sanitation workers in 1968, except for the addition of the word not. Walking through the streets of Harlem, Scott's social performance art provoked the largely African American passersby to consider all that has still to be accomplished since the Civil Rights Movement. Most recently an 1870 statue of Abraham Lincoln at the northern end of Union Square Park came to life, though not with the voice of the Republican emancipator, but through the faces and voices of fourteen recent war veterans who served in Afghanistan and Iraq. The 2012 reanimated monument was the work of artist Krzysztof Wodiczko.

Seeking to defend artworks that buttress racial, sexual, or class domination using the 19th century concept of "art for art's sake" is not only distasteful, it is also without either historical or aesthetic merit. As Walter Benjamin once powerfully observed, "there is no document of civilization which is not at the same time a document of barbarism. And just as such a document is not free of barbarism, barbarism taints also the manner in which it was transmitted from one owner to another." In this instance, memorials and statues reflecting undemocratic and biased points of view are these tainted historical documents. Instead of returning to a model of permanently memorializing an illusory and grandiloquent past, why not consider commissioning temporary commemorative works rooted in local community histories and struggles that would reflect the multifaceted history of the United States from the bottom up, rather than from the top down? In any case, the task of representing our nation's complicated past at this, our (latest) moment of representational crisis, must not fall only to the inventiveness of artists, but needs to be seen as belonging to all engaged citizens, as well as residents, documented or not, who have a stake in reimagining the way history will be represented to future generations.

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Reimagining Monuments to Make Them Resonate Locally and Personally

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Instead of returning to a model of permanently memorializing an illusory and grandiloquent past, why not consider commissioning temporary commemorative works rooted in local community histories and struggles?

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What’s In a Monument? Part II: The Edward Cornwallis Monument and Reconciliation

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What’s In a Monument? Part II: The Edward Cornwallis Monument and Reconciliation

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CW/TW: Discussions of colonialism and past and current settler violence.

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"What's in a Monument?" is based on a public lecture delivered on March 11 in the History Matters Series organized by the University of Calgary History Department and the Calgary Public Library. We recommend that you read yesterday's post by Jewel Spangler about the Robert E. Lee monument in Charlottesville before Part II because it provides the theoretical framework for this piece. By Nancy Janovicek
This blog post builds on Jewel Spangler's arguments about heritage stories and the crucial distinction between history and commemoration in Part I of "What's in a Monument?", which discussed the Charlottesville Riots that erupted after the attempted relocation of the Robert E. Lee Monument a year ago. Focusing on the January removal of the Edward Cornwallis monument in Halifax, I also begin from the premise that monuments "are artifacts of those who commemorate."

The Canadian controversy echoed the US incident, but in Canada, the removal was resolved peacefully. I argue that the Calls to Action of the Truth and Reconciliation Commission (TRC) opened a space receptive to Indigenous critiques of imperialist heritage stories. But I want to be clear from the outset that it was never our intention to contrast a violent and racist US debate with a peaceful and tolerant Canadian response to contestations about interpretations of the past. We gave the public lectures on which these posts are based shortly after the verdicts were delivered in the Colten Bouchey and Tina Fontaine cases. Their violent deaths demonstrate that in our journey towards reconciliation, heeding Indigenous people's criticisms of colonial narratives is only a first step in connecting past actions with current injustices.
The Cornwallis Monument Debate
Past Active History posts about the Cornwallis debate provide further context for this piece. Thomas Peace appealed to history educators to move beyond unproductive debates about teaching history that pit rote learning of facts against inquiry-based pedagogy. In order to use history to participate in civic debates and politics, people need to "think with history,"[1] a skill that requires both facts and process. Tom Fraser celebrated the success of the thirty-year Mi'kmaw campaign launched by Daniel Paul. These heritage projects, he argued, are remnants of an imperialist national project that insist that Canada is a British space. He called on educators and historians to take a leadership role in explaining what these commemorative projects represent to Indigenous peoples.

Daniel Paul first challenged the tributes to Cornwallis in his 1993 book We Were Not the Savages. Paul's distinguished career as a human rights activist and specialist in Mi'kmaw heritage is important to the history of the campaign. Using human rights discourses, Paul reframed the treatment of Mi'kmaw peoples in the colonial period as crimes against humanity. He rejected the defense of Cornwallis as a man of his times:

"Anyone who attempts to justify the actions of the governments of Nova Scotia in 1744 and 1749 that issued all-inclusive proclamations for the extermination of men, women, and children ought to know there is no excuse for the inexcusable. These barbarous acts of so-called 'responsible governments' cannot be forgiven and should never be forgotten."[2]

Paul demanded the removal of Cornwallis' name from schools and the monument in Halifax.[3] For the Mi'kmaq and their allies, celebrating a "genocidal imperialist" no longer reflected Canadian values.

Champions of the Cornwallis and Lee statues have made similar arguments. The Halifax Military History Society was one of Cornwallis' most vocal defenders. John Boileau, chair of the society, has maintained that Cornwallis was a great military leader and founder of the colony, a history that John Reid contested in his essay about the commissioning of the monument.[4] Boileau opposed the removal of the statue arguing, "You don't have to destroy one history to tell another ... This does not have to be a zero-sum game." His argument fails to recognize the distinction between history and commemoration while also demonstrating that fights about monuments are disagreements about perspectives of the past. The history he promoted was the perspective of the people who built the statue, an interpretation of the past that erased the Mi'kmaq. The debate about the relocation of the statue hinged on whether or not this interpretation was worth celebrating.

Commemoration looks back to assert the cultural authority of an influential group. Commemoration also looks forward. As Reid has demonstrated, city boosters commissioned the monument in 1931 as part of their plan to promote Halifax as a tourist and conference hub.[5] In 2018, city councilors who voted for its removal prioritized good relationships with Mi'kmaw people as they looked forward. Councillor Shawn Cleary, who voted in favour of relocating the statue, stated: "It had become an impediment to building a new relationship with the Mi'kmaw people here in Nova Scotia." Suzanne Patles, an organizer of the Mi'kmaw rally, stated: "It's very empowering to be here today and to see the statue is removed. It's very moving that our collective voices are so powerful that we're able to move mountains and move statues." For Indigenous activists this was a crucial step toward reconciliation.

Brenda Macdougall has recently argued that debates about "naming and renaming" are not new, but the TRC Calls to Action have changed the dialogue about commemoration. The investigation into the residential school system has compelled Canadians to come to terms with the ongoing impact of colonialism on Indigenous families, peoples, and nations. Residential schools are not just a sad chapter in Canadian history; the schools are closed, but their legacy still shapes relationships between Indigenous peoples and settlers at both the level of personal relationships and government policy. The TRC demanded Indigenous representation on the Historic Sites and Monuments Board of Canada to ensure that, moving forward, "Indigenous history, heritage values, and memory practices [will be integrated] into Canada's national heritage and history." Halifax officials who supported the removal of the Cornwallis statue were responding to this call to action.

Some Mi'kmaw activists have made a direct connection between the Cornwallis scalping order and Missing and Murdered Indigenous Women. The link between the 18th-century directive and the ongoing violence against Indigenous peoples reflects Indigenous ways of understanding the past that do not make a clear distinction between past, present, and future. Following Indigenous perspectives could help us work through these debates. John Joe Sark, Keptin of the Mi'kmaw Grand Council offers sage guidance. Sark is demanding the removal of Jeffery Amherst commemorations from national sites in PEI and rejects arguments that this would change the past. He states: "It's not erasing history; it's exposing history." A meaningful dialogue about commemoration that incorporates diverse perspectives of the past should also expose how monument builders deliberately excluded the experiences of marginalized peoples.

Those who commissioned, paid for, allowed, and crafted the Lee and Cornwallis monuments could not envision a future in which African Americans and Indigenous peoples would play a meaningful role. This still matters today. A great deal is at stake if we don't take seriously the criticisms of Black Lives Matter and Indigenous activists. They are crucial voices in the debates about whether or not we should continue to celebrate the contributions of white leaders who held views that no longer accord with the future we hope to create.
Postscript: Renaming the CHA John A. Macdonald Prize
At the 2018 AGM, members of the Canadian Historical Association (CHA) debated a motion to change the name of the John A. Macdonald Prize to the Canadian Historical Association Prize for Best Book in Canadian History. CHA President Adele Perry explained its history: Manulife and the CHA established the $5000 prize in 1977; it was fully funded by the financial company until 1982. Macdonald, as Manulife's website proudly explains, was also its first president. It's not clear, however, how they agreed to the name. Donald Wright suggests that in 1977 Macdonald was still a usable figure to both Anglophones and Francophones.[6] Since 2009, the prizewinner has also received a Governor General's Award for Scholarly Research.

There was surprisingly little discussion of the difference between history and commemoration during the CHA debate. John Reid was an exception. He explained that he had supported the Mi'kmaw fight to relocate the Cornwallis statue because of Cornwallis's role in promoting settler colonialism in the 18 th century. He spoke in favour of the CHA motion because Macdonald had played an even more significant role in cultivating the settler colonial state. He did not think that the CHA should be commemorating him in these times.

It was Laura Ishiguro's appeal to support the motion that set the tone for the discussion. I cannot write as eloquently as Dr. Ishiguro speaks, so I will summarize two of her key points. First, she explained that the CHA is not a safe space for Indigenous and racialized historians, many of whom are also emerging scholars. Second, she argued that voting against the motion to remove Macdonald's name from the prize would send a strong message that the CHA places the commemoration of a political figure opposed to their ancestors' place in Canadian society ahead of making them feel welcome in the profession.

Some have publicly declared that they will not renew their membership. To colleagues who deride the decision, I submit that there is a lesson to be drawn from those in Halifax who supported the removal of the statue in order to build meaningful relationships with Mi'kmaw people. A majority vote against the motion would have been an impediment to honest conversations about addressing racism in academe and working towards becoming an inclusive profession.
Nancy Janovicek is Associate Professor of History at the University of Calgary. She is the founder of the Annie Gale Project, a community-led initiative to commission, create, and install a bronze of Hannah (Annie) Gale, the first woman elected to Calgary City Council. We acknowledge the traditional territories of the Blackfoot and the people of the Treaty 7 region in Southern Alberta. These are the traditional territories of the Blackfoot and the people of the Treaty 7 region in Southern Alberta. This includes the Siksika, the Piikuni, the Kainai, the Tsuut'ina and the Stoney Nakoda First Nations. The City of Calgary is also home to Metis Nation of Alberta, Region III.
Notes

[1] John Tosh, Why History Matters (London: Palgrave, 2008).

[2] Daniel Paul, We were not the Savages: A Micmac Perspective on the Collision of European and Aboriginal Civilizations (Halifax: Nimbus Publishing, 1993): 112

[3] For a debate on renaming the school see the Active History posts by Paul. W. Bennett, "Renaming Schools: What Does Sanitizing History Teach Students?" 18 July 2011 and Thomas Peace, "Renaming Schools: A sign of a society in dialogue with its past," 19 July 2011.

[4] John Reid, "The Three Lives of Edward Cornwallis," Journal of the Royal Nova Scotia Historical Society 16 (2013), 19 - 45.

[6] E-mail correspondence with author, 2 August 2018. Many thanks to Donald Wright who went to the UNB library - while working late on campus to meet a deadline - to look up the announcement of the award in the 1977 CHA Newsletter. Marielle Campeau shared her notes on the motions about CHA prizes.

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What's In a Monument? Part II: The Edward Cornwallis Monument and Reconciliation

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"What's in a Monument?" is based on a public lecture delivered on March 11 in the History Matters Series organized by the University of Calgary History Department and the Calgary Public Library. We...

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TW/CW: mentions of Anti-Black racism, lynching, commodification of and violence against Black people, and white supremacy.

When a Lynching Memorial Becomes a Photo Opportunity
by William C. Anderson
Hyperallergic

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It's imperative for those paying respects to understand and interrogate civil rights museums, memorials, and any other commemorations of Black struggles against oppression as artistic projects, rather than just as supposedly objective monuments. There is an art to remembrance, and like any art form that's bought and sold, it's marketed as a commodity. How US society chooses to highlight violence against Black people in both the past and the present is absolutely something political given the immeasurable scars embedded across generations. Art can work against oppression, or it can be a tool for its purposes.

Across the country, many cities like Atlanta, Memphis, and Selma actively market their respective histories and sites of anti-Black violence as tourist destinations, and art is very much a part of these projects. My home of Birmingham, Alabama is notorious for this. The state itself is invested in history, remembrance, and commemoration, and these sorts of projects should be thoroughly unpacked and critiqued. To clarify - such a critique is not a critique of the history any project may attempt to appropriately remember. Rather, it's a critique of how selective remembrances fails.

The Equal Justice Initiative's National Memorial for Peace and Justice has received rave reviews throughout the media and by visitors alike. (I use the word "reviews" intentionally here because any project that takes up the task of remembering anti-Black violence runs the risk of becoming entertainment. Violence against Black people has always been and will always be - as long as the current state of oppression remains - a form of entertainment.) The initial encounter I had when I visited was with the stunning, but agonizing sculptures by Ghanaian artist Kwame Akoto-Bamfo of enslaved Africans chained together.

The bold project of memorializing the uncountable number of Black lynching victims in the US is a hefty task. That awareness seems eerily present in the weight of the over 800 corten steel monuments. As you walk through, you go from walking amongst these columns to glancing at them hanging above, as the memorial's path ramps downward but the ceiling remains horizontal. As the New York Times reports, "[A]s you walk, the floor steadily descends; by the end, the columns are all dangling above, leaving you in the position of the callous spectators in old photographs of public lynchings." A collapse of historical culpability occurs when I, the relative of a lynching victim myself, am tasked with looking up at these symbolic hangings, surrounded by white spectators.

I walked faster than I had to in order to outpace any white people around me who might distract me from my grief, which prevented me from taking my time with the monument. When I came upon a white man taking photos of the columns, I couldn't help but think, They're still taking photos. Lynching itself, like many forms of anti-Black violence, is something we have so much record of, partly because white people rigorously documented their own evil. One of the ways they did this, aside from keeping physical pieces of victims' bodies, was commemorating the occasion with lynching photos. These heinous events were a form of art and archive for white participants. Lynching became the transformation of Black people's bodies into centerpieces and collector's items to be disseminated. This is evidenced by these gruesome compositions and the disrespected, mutilated fragments they left behind, hanging and killed in other ways. This memorial, intentionally or not, reproduces the opportunity for white onlookers to engage in the spectacle of lynching.

Nearby, at the Equal Justice Initiative's Legacy Museum, similar intrusions occur in the name of art, experience, and interaction. Plastered on the front of the museum is the 1893 lynching of Henry Smith, which occurred before thousands of participants in Paris, Texas. I've written before about how lynching photos extend into present day's shareable media incarnations of anti-Black violence, which are disseminated and desensitizing. Black people's bodies are not the public's to share, consume, or put up on display so the nation can learn a lesson. The regularity of this callousness makes Black people and our bodies into fuel to push the nation's betterment through the display of our suffering. That is to say, if you constantly reposition images of public anti-Black violence into the (still racist) public sphere, you run the risk of reproducing violence, and repeatedly forcing Black media consumers to relive racial trauma. It's worth noting that a lynching today, or even the representation of such, can be enjoyed and consumed by many, just like it would have been in the unresolved past.

One of the most shocking things I observed at the Legacy Museum was the soil collection from numerous lynching sites. It wasn't the soil itself as much as it was the interactive, fun photo booth that allowed visitors to take happy group pictures using the lynching soil as a backdrop. I felt insulted as I watched white visitors line up to take their photo with the soil their kin may have very well once stood on, before a lynching victim.

However, it's not just the Equal Justice Initiative's projects that make some sacrifices for the sake of art and interaction. You can visit the Center for Civil and Human Rights in Atlanta, where visitors line up at a mock counter to experience a simulation of racist violence during a sit-in. Or, you can take one of the various plantation tours that exist across the United States and the Caribbean, which have ironically commodified the sites on which enslaved Black people were brutalized, raped, and murdered as property.

The work of Northwestern Doctoral Candidate Theodore Foster and what he describes as " neoliberal civil rights memory " has been helping me think through this. This is a useful framework to understand how the modern civil rights movement is remembered as a historical event rather than a historical conjuncture. He spoke to Hyperallergic via email about his work, stating:

"If the fungibility of Blackness references how the interchangeability of the slave as a commodity functions both figuratively and literally then we can understand the commodification of civil rights history as remaining within the economy of chattel slavery or the hold of the slave ship. If neoliberalism references a political-economic logic of deregulation, privatization, tax cuts, and austerity that since the late 1970s has prescribed policies that produced socioeconomic urban and rural wastelands for black communities, then we must interrogate the economic values that animate, whitewash and quarantine civil rights history."

As artistic projects, these commemoration sites become places where the state can reinvest in its narrative of anti-Black violence as a necessary growing pain. Foster referenced the work of art historian and curator LaTanya Autry and her creation of the hashtag, #MuseumsAreNotNeutral, which seeks to unsettle the dominant notion that museums should quarantine, rather than encourage, critical engagement with history, art, and space. Foster told Hyperallergic:

"Neoliberalism seeks to reconcile the mixed legacies of post-WWII Black freedom movements in the form of memories that emphasize the power of liberal democracy, the state, and the market to overcome racial violence and celebrate the triumph of racial progress in monuments, commemorations, and southern sites of terror redeveloped as tourist destinations. Despite attempts to reposition museums as 'living institutions,' they will always remain structurally entangled with capital, neoliberalism and racial progress narratives."

It's imperative that we commit to a critical approach to these spaces that recognizes that violence can take the form of art under the logic of white supremacy. By allowing spaces that are supposed to remember, recognize, and honor white supremacy's victims to instead become "unbiased" liberal ventures devoid of accountability or proper grief, we do ourselves a great disservice. If we only expect to see the violence of the world that has killed Black people and still kills us exhibited for onlookers, instead of a radically better world we deserve, we're not abolishing white supremacy. We have to counter, defy, and defend against violence; we should not allow it new opportunities to express itself for the sake of art, capital, and consumerism. While I do see some good and potential in much of what I critique here, there are boundless possibilities for liberation in the unseen. To get to a freeing newness, we need bold, confrontational innovations and not just the exhibitions we're used to.

Related

Tagged: Equal Justice Initiative, lynching, public memorials, Washington

William C. Anderson is a freelance writer. His work has been published by the Guardian, Truthout, MTV, and Pitchfork among others. He's co-author of As Black as Resistance (AK Press 2018). More by William C. Anderson

The New Red Order exhibition asks visitors to contemplate their relationship with the land and very simply - to give it back.

What better way to celebrate the centennial of Chicago artist and community organizer Carlos Cortéz than with a trio of exhibitions dedicated to the intersections between Latine printmaking and politics?

Staff reportedly received online threats over the museum's "safe space" time slot for visitors of color during its This Is Colonial exhibition workshop.

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When a Lynching Memorial Becomes a Photo Opportunity

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A reflection on the commodification of Jim Crow's violence through public memorials.

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by Achille Mbembe
Chapter 4, pg 103-128.

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by Timotheus Vermeuleen

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TW/CW: discussion of police violence against Black people, discussions of slavery, George Floyd's murder, and mass incarceration.

What does, how does the production of space apply to race, gender, inequities? or bodies in cities?  Different bodies have different experiences.  (E. Grosz essay and below)

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Charles Tonderai Mudede

What Do the Police Do?

Let's begin with the police. What is it exactly that these armed men and women do for a living? They protect the rights of property ownership. All else follows from this primary objective. Even the eighteenth-century moral philosopher Adam Smith was aware of the key police function. In The Wealth of Nations, the first systematic defense of ownership (capitalist) society, he wrote:

For one very rich man there must be at least five hundred poor, and the affluence of the few supposes the indigence of the many. The affluence of the rich excites the indignation of the poor, who are often both driven by want, and prompted by envy, to invade his possessions. It is only under the shelter of the civil magistrate that the owner of that valuable property, which is acquired by the labour of many years, or perhaps of many successive generations, can sleep a single night in security. He is at all times surrounded by unknown enemies, whom, though he never provoked, he can never appease, and from whose injustice he can be protected only by the powerful arm of the civil magistrate continually held up to chastise it. The acquisition of valuable and extensive property, therefore, necessarily requires the establishment of civil government. Where there is no property, or at least none that exceeds the value of two or three days' labour, civil government is not so necessary.

And there you have it. Smith stated, as plainly as possible (and without even a sense of scandal or embarrassment), that the function of law enforcement in a market-based society is to protect the order of property ownership.

The Penal Population

If we begin with this understanding, that police protect property and their owners, we can expect this to be its primary consequence: those who have very little property in a community are bound to experience a frequency of bad encounters with law enforcement that is much higher than those who have a lot of property. And so it is. What we find in the US, the world's top ownership society for the past hundred years, is a vast jail, prison, and parole system filled with men and women who do not own much of anything. From this fact, which links poverty to the business of policing, we also find an explanation for the overrepresentation of black Americans (who make up about 13 percent of the general population) in the US's state prisons (they make up 40 percent of the penal population).

The Logic of Ownership Society

After the abolition of slavery in the US, blacks received no compensation from ownership society because they did not lose any property. They were indeed the property that was lost. This outcome, no compensation for slaves, can only make sense in a society that has sacralized property rights. Soon after the Haitian Revolution ended in 1804, for example, the former slaves were forced into debt by their former owners. The black nation had to pay France 90 million francs (or $21 billion USD in today's money). This debt was not repaid until 1947. The Haitian slave revolt, the struggle for freedom, violated a property contract. The same is true of the Emancipation Proclamation of 1863 that freed slaves in the US. This violation of a contract explains, in part, the US's refusal to come anywhere close to adequately compensating black Americans for over 250 years of slavery. What is to be compensated?

To make this manner of reasoning a little more obvious, one only has to consider the reparations to Japanese Americans for internment during much of World War II. The award came late for sure (1988), but it was always politically feasible because many in this group lost property when they were forced to relocate to concentration camps in 1942. Much of this property was never returned after the war. The US government had to finally recognize the racial grievance of the internment because it contained a large number of property grievances. An official apology was offered for the state's brazen racism; and, in recognition of lost property and revenue, $1.6 billion worth of checks were sent to those who had been interned and their heirs.

The Black History of a Bad Check

What we find in the years that followed the Emancipation Proclamation are a series of bad checks sent from the state to black Americans. By 1963, the March on Washington (or the Freedom March) made the then most recent of these bad checks (the postwar Keynesian check that was good for the whites who swelled the middle of the US's social hierarchy) the prime issue of the event. In the words of the march's main speaker, the theologian Martin Luther King, Jr.: "America has given the Negro people a bad check, a check which has come back marked 'insufficient funds.'" It is not an accident that King associated American freedom with American money, which offers the means to own what the police officers are hired to protect: property. "We refuse to believe that the bank of justice is bankrupt," stated King. "We refuse to believe that there are insufficient funds in the great vaults of opportunity of this nation. And so, we've come to cash this check, a check that will give us upon demand the riches of freedom and the security of justice." This check has yet to not bounce.

The Punitive Turn

Six years after the March on Washington, the US government began channeling surplus black labor into an expanding prison system. The sociologist Bruce Western described this switch point in his 2006 book Punishment and Inequality in America as the US's "punitive turn." Mass incarceration had a definite Keynesian function in the sense that it provided the government with an investment opportunity that would not be opposed by the right, whose economic program was, at the time (the late 1960s and early 1970s), making a return after thirty years in the wilderness. It was understood that the government's demand function could not be aborted at this point. This would have resulted in mass unemployment and a return of the political turbulence that nearly toppled ownership society during the Red Decade (the 1930s). The Keynesian demand function was instead repurposed. Western writes: "Prison construction became an instrument for regional development as small towns lobbied for construction facilities and resisted prison closure." Three decades after the punitive turn, "over a million black children-9 percent of those under 18-had a father in jail."

Invisible Men and Women

This massive program of incarceration had another Keynesian function: it made many jobless men and women invisible. We can describe this disappearing act as Keynesian because it helped the government maintain its thirty-year commitment to full employment (the solution to the class conflicts of the Red Decade). A grasp of this development is improved by the recognition of black exclusion from the middle class that ballooned during the course of the long boom (1947 to 1970). What happened to them? Black Americans kept pressing for their check-full employment, job security, health insurance, and high wages-to be cleared. But in the end, the only significant Keynesian program the state granted the descendants of slaves was joblessness in the form of mass incarceration, which, as Bruce Western points out, removed a large amount of unemployment from the books and made full employment possible in a period that experienced a decline in the rate of capital accumulation (the 1970s). Western writes: "Prison and jail inmates are invisible in the official labor statistics that describe the economic well-being of the population." Western estimates that the jobless rate for blacks in the US would go up by as much as 10 percent if the prison population was included in national accounts.

The Pacification of White Labor

What is poorly understood by most Americans is that the Golden Age of Capitalism (or what the French call Les Trente Glorieuses) was at once a period of full employment and intense labor turbulence. Mainstream history, even on the left (Robert Reich, Nick Hanauer, Paul Krugman, and the like), tends to portray it as a period of peace between labor and capital. Wages were high, as was the rate of capital accumulation. It was a win-win situation that was unwisely destroyed in 1980 by the Volcker Shock, which crushed union power, and the subsequent deregulation of financial markets. But the high wages of the Golden Age were tied to labor/capital contracts that put a lid on radical labor activism and diminished the power of unions. This was the consequence of the Taft-Hartley Act in 1947 and the Treaty of Detroit in 1950. The act and treaty were the two blades of a scissor that worked to cut the sinews of labor's greatest strength: grassroots activism. It also pacified much of white labor.

El Nuevo Rodeo

At this point, let's consider the police officer who used his knee to murder George Floyd. Derek Chauvin's income as a servant for the rights of property apparently did not make ends meet. He moonlighted as a bouncer for a popular Minneapolis Mexican-American music venue called El Nuevo Rodeo. He, as with millions of other middle-class white Americans, earned less than the socially necessary income to maintain a middle-class standard of life. If the Keynesian response to black unemployment was mass incarceration, its response to a white middle-class accustomed to high wages in a period of flat-to-declining real wages was what the sociologist Lisa Adkins calls in her 2019 book The Time of Money the "financialization of everyday life." As borrowing fueled middle-class consumption, hard cash, which was harder and harder to obtain, became increasingly valuable. If Officer Chauvin's position was similar to that of millions of Americans in the middle class, then he needed not more credit, but more cash. This difficult state of affairs can be explained by the transference of national deficit spending on the maintenance of a socially approved standard of American life to the realm of domestic deficit spending. This transference had the advantage of maintaining the Keynesian demand function as government budgets contracted.

The Corner of 38th and Chicago Avenue

And yet, a large section of white America was surprised to see, on Memorial Day, in the middle of a pandemic, the knee of a white police officer choking the life out of a black American man, pinned to a Minneapolis street. It seemed not to make any sense to them. Why would a police officer do such a thing? But if we fix the frame of Adam Smith's understanding of the police function on the incident, little about it will seem that out of place. The black man in question has very little property (he's unemployed at the time of his death; and when employed, he was a bouncer at El Nuevo Rodeo-the lockdown closed the venue). In fact, Floyd, who, like 15 percent of all black males alive today, had spent time in prison, and who also tested positive for Covid-19 on April 4, 2020, was accused of having used a fake twenty-dollar bill to buy cigarettes from a store, Cup Foods, on the corner of 38th and Chicago Avenue. This was the beginning of the end for him-the possible loss of twenty dollars and the possession of a packet of cigarettes that he may not have had the right to own.

As for the white man whose knee is on Floyd's neck, he has a job to do: to serve and protect the rights of property ownership. And here (as the knee presses on Floyd's neck), we can draw a conclusion from an insight that Karl Marx made in a number of his books, and which, in a sense, extended Hegel's theory of recognition (the slave sees their value in things). In Marx's view, under a property regime, a society that has sacralized possessions, we find that people have been replaced in importance by things. This means that objects (or commodities) mediate our relations with other humans. This is what being in a commodity society comes down to. The police in such a regime, then, do not serve and protect people, but things.

Charles Mudede is a Zimbabwean-born cultural critic, urbanist, filmmaker, and writer. Mudede, who teaches at Cornish College of the Arts, collaborated with the director Robinson Devor on two films, Police Beat and Zoo, both of which premiered at Sundance. Zoo was also screened at Cannes. Mudede is also associate editor for The Stranger, a Seattle weekly, and directed the 2020 film Thin Skin.

© 2020 e-flux and the author

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Charles Mudede explains the function of police (hint: they don't protect lives) and the black history of a bad check.

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REQUIRED: Tribute to Hope: Atlantic Canada's first garden for cancer survivors almost finished

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REQUIRED: Tribute to Hope: Atlantic Canada's first garden for cancer survivors almost finished

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by Alex Cooke

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The finish line is in sight for a Nova Scotia couple who have spent the last two and a half years working to create Atlantic Canada's first garden for cancer survivors.

Judie and Jim Edgar are both cancer survivors.

Judie was diagnosed with breast cancer twice, in 2003 and in 2013, and Jim was diagnosed with kidney cancer in 2017. Both have recovered.

Judie said the Daffodil Garden for Cancer Survivors is meant to show people that a cancer diagnosis isn't necessarily a death sentence.

"When you hear the word 'cancer', you think of people who didn't survive," she said. "You read it in newspapers, you hear from family and friends. Even the park benches have plaques.

"But there's so many survivors out there like Jim and I who are surviving and thriving that we just thought it would be a very wonderful message."

Jim said the term "survivor" also extends to the friends and family of people who have had cancer.

"They were there to comfort, to talk to, to go to treatments with them. They're survivors in their own right as well," he said.

"Although they haven't experienced cancer firsthand, they've experienced it secondhand from the person they've been doing the journey with."

Judie said doctors and health-care workers are included as well, because they've worked with cancer survivors as well as those who have died of the disease. "It's got to be tough on them," she said.

She said she was inspired by similar gardens in Ontario while she was living in Mississauga during her first round with breast cancer.

'Everybody has their own story'

The garden is in downtown Dartmouth, along the harbour walk near the Alderney ferry terminal, and offers a scenic view of the Halifax harbour.

Judie said she didn't want it to be near a hospital or treatment centre, since survivors and people with cancer already spend a lot of time at hospitals.

The concrete path winding through the garden is in the shape of a cancer awareness ribbon. At the centre of the ribbon stands a statue depicting a boy, a middle-aged woman and an elderly man, showing that cancer doesn't discriminate.

The three figures are all connected in some way: the woman at the centre has her arms around the other two, and the old man and the boy are holding hands.

"One of the things that we've found in this journey is that cancer's become such a connector," Jim said, explaining why the figures are connected.

"Everybody has their own story, either personal, or a family member, or whatever."

The project was supported by all three levels of government, and funding came in the form of a grant from the provincial department of Communities, Culture and Heritage, money from municipal district capital funds, and a grant from CN Rail.

They also held fundraisers and received a lot of support from the community.

Since starting the project, Judie said the garden's Facebook page has received many messages from people who have been touched by cancer in some way, be it survivors themselves, or someone with a loved one who has or had cancer.

"I had a very touching one. She said her mother had just started her cancer treatments, her radiation, and this is part of the walk she walks on her daily route," Judie said.

"And she said, 'I'm so excited that she's going to see this be created and be able to rest there as she walks along.'"

Sam Austin, the councillor representing downtown Dartmouth, described the garden as "a wonderful addition to Dartmouth and the municipality as a whole."

He said while there is a large awareness of cancer in general, the people who survived the illness aren't always acknowledged.

"This is something that acknowledges the survivors of cancer, the people who battled the disease that leaves its scars, but then they carry on," he said.

The Edgars are expecting concrete to go in around the artistic feature next week. Crews will also install yellow chairs and benches, laser-cut with inspirational messages and daffodils, the symbol of the Canadian Cancer Society.

Judie said the society was a big help in promoting the project and working with them to make it happen.

Jim said they hope to have a community event to plant daffodil bulbs in October.

The couple couldn't say when the garden will officially open, but they say it will be in the near future. Once that happens, Judie said they look forward to spreading their message of hope.

"People think cancer is a death sentence - and people do still pass away - but there's so many survivors out there," she said. "We're just trying to make a difference in our corner of the world, and hopefully this will make a difference for a lot of people."

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Tribute to hope: Atlantic Canada's first garden for cancer survivors almost finished | CBC News

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A Nova Scotia couple who have both survived cancer have created a garden for cancer survivors in downtown Dartmouth. They say it will officially open in the near future.

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Instructions for Nocturne Art Work Review

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Instructions for Nocturne Art Work Review

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Attend Nocturne Halifax Virtually or Physically.  Write a one-page review of one work that stands out for you.

Place PDFs below. Label pdf with your name and the artist or work of art.

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REQUIRED: Debated Territory, Towards a Critical Language For Public Art

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REQUIRED: Debated Territory, Towards a Critical Language For Public Art

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by Suzanne Lacy

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Questions and Considerations for this Week's Readings 1/2

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Questions and Considerations for this Week's Readings 1/2

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How do you think we should deal with controversial monuments. Can you give an example below.

Six Strategies for Dealing with Controversial Monuments and Memorials:

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FRANKLIN, Tenn. - Communities across the United States are grappling with the issue of public monuments and memorials. The most public of the conversations have revolved around Civil War monuments, many of them in the American South. This makes sense since the region is home to a majority of the public memorials to the Confederacy. But the movement for a reassessment of monuments and memorials is by no means geographically limited.

For example:

In September 2017, New York City Mayor Bill de Blasio appointed a Mayoral Advisory Commission on City Art, Monuments, and Markers to review its public monuments to J. Marion Sims (who conducted experiments on enslaved women that earned him the moniker of "The Father of Modern Gynecology"), Christopher Columbus, and Theodore Roosevelt, as well as the Canyon of Heroes in Lower Manhattan. Ultimately, the commission advised moving the Sims statue, and leaving the rest in place.

In March 2018, as Hyperallergic's Claire Voon reported, Pittsburgh decided to replace a statue of Stephen Foster that prominently featured an enslaved man playing a banjo. The city has asked for public input for what will replace it.

In late 2017 Mission Hills, Santa Barbara, and San Gabriel, California, statues of St. Junipero Serra, were all vandalized.

Confederate monuments and memorials, however, are still at the forefront of the public memorial discussion. Just this week, the Southern Poverty Law Center reported the removal of 110 of more than 1,700 monuments and memorials to the Confederate cause since the 2015 massacre of nine African Americans at the historic "Mother Emanuel" church in Charleston, South Carolina. In December 2017, the City of Memphis removed statues to Nathan Bedford Forrest and Jefferson Davis under cover of darkness, a move that caused the Tennessee legislature to withhold from the city $250,000 for its violation of state law regarding removal. Middle Tennessee State University in Murfreesboro was denied the right to rename Forrest Hall.

In North Carolina, the fate of the "Silent Sam" monument at the University of North Carolina, Chapel Hill, continues to be hotly debated.

Not every community has chosen to remove statues, and many people, myself included, are somewhat reticent to advise removal as the sole option for statues and memorials. Communities across the nation (and even the world) have used at least six different options when dealing with public monuments and memorials. The following rundown of these options are inspired by my conversations with Todd Groce of the Georgia Historical Society and Sheffield Hale of the Atlanta History Center, among others:

Do Nothing. There are three main arguments for this. The first is the most facile: no one cares, so why do anything at all? The second is to preserve the built environment, which is a hallmark of historic preservation concerns. The third is an attempt to make a historical argument: "You can't erase history," some maintain. The fallacy in this argument is that monuments and memorials say very little about their putative subjects but speak volumes about the motives of those who erect them.

Removal. There are three options for removal: The first is to place statues in a museum where they can be interpreted like other art. This was a common initial response when the issue first emerged in late 2015. Some museums, such as the Matheson History Museum didn't want them. And some museum professionals have recently argued against this idea. The University of Texas at Austin relocated their campus statues to its Briscoe Center for American History.

The second is to place them in storage. This is the situation in New Orleans's very public monument removal discussion. It is also true in Baltimore.

The third option is to destroy them. This hasn't happened yet that I know of, but here's a unique interpretive possibility Megan Kate Nelson posed, that Kevin Levin quoted here: "They should be destroyed, and their broken pieces left in situ."

Relocation. This is how Orlando, Florida, handled its Confederate statue, moving it to the city-owned Greenwood Cemetery. New York City has done the same with its Dr. Sims memorial, relocating it to the Brooklyn cemetery where Sims is buried.

Add additional markers or kiosks for contextualization. This is something those of us in the history field immediately gravitated to since it gives public historians the opportunity to provide additional historical content and context. An example of this is from Colorado's addition in 2002 of a plaque about the Sand Creek Massacre near its state Civil War monument. More recently, in 2016, the Atlanta History Center published its Guide for Placing Monuments in Context. A notable example of this is in action is on the campus of the University of Mississippi. The city of Denton, Texas is following this course as well.

Add to the monument in a way that changes its meaning. Outside of the " Fearless Girl" in New York, we've not seen this much in the US yet - and may never. My favorite example of this is from Sofia, Bulgaria, where street artists "adjusted" the city's " Monument to the Soviet Army" in 2011. (The monument has since endured several other transformations as well).

Add additional monuments that honor other stories and people. This is what Project Say Something is looking to do in Florence, Alabama: to add a monument to the Civil Rights Movement on the courthouse grounds where a Confederate statue already stands. Richmond Mayor Levar Stoney, who convened a commission in 2017 to study the city's memorials, has publicly considered adding to the commemorative landscape. Vice President Mike Pence has as well.

Rowman & Littlefield will publish David B. Allison's Controversial Monuments and Memorials: A Guide for Community Leaders in August 2018. The book's two-dozen chapters cover the breadth and scope of community discussions around monuments and memorials. (Full disclosure, I was managing editor of the book series when Allison wrote the book.) Public historian and educator Kevin Levin, whose Civil War Memory blog is a terrific source for the goings-on regarding this issue, has also submitted a proposal for a Civil War monuments reader.

Like many issues in American communities these days, the discussion over monuments and memorials is fraught with complexity and intransigence on all sides. For those looking for a universal solution, I am convinced there is none. The issue, as I see it, may only be appropriately addressed by each individual community. That means some will leave in situ monuments to problematic individuals and causes. Others will remove them altogether. Some will supplement existing monuments with additional statues or interpretation. Still others may alter the statues. Whether I'm happy or not about the outcome of the discussion (or lack thereof) I, for one, am pleased that history is now featured so prominently in public dialogue and that communities are engaging museums in this discussion.

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Six Strategies for Dealing with Controversial Monuments and Memorials

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Communities across the nation (and even the world) have generally used the following options in dealing with contentious public monuments and memorials.

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Sorry of the delay on posting these.
Here are two short interviews, the first is between Adrian Piper and  Lucy Lippard, the second is between Lindsay Nixon and Rebecca Belmore.

https://feministartpractices.files.wordpress.com/2014/07/lippard_piper_catalysis.pdf

https://canadianart.ca/interviews/rebecca-belmore-landmarks-2017/

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The call could be for a  public art work, exhibition, public event, or an art-in- residency program. Other suggestions are welcome. You are going to respond to one of the public art calls for Assignment #6.

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Hi Everyone.
I want to welcome you to to Art in Public Places. I'll see you in two weeks. Louis Charles will guide you through the syllabus and assignments and take your questions.

Introducing yourselves below is probably a good step:
- Name you use?
- What pronouns do you go by?
- Is there a public art work - anywhere in the world - that has a profound impact on you?
For me this public art work is:  The memorial to the murdered Jews in Berlin by Peter Eisenman:

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Questions and Considerations for This Week's Readings (and last week's assignment):

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Questions and Considerations for This Week's Readings (and last week's assignment):

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1.  I would like to you think about  the readings in consideration of the public art work(s) you posted on the map last week. Where is the work located, how does that site function, what public is involved, who is the work for - I mean who is the work really for?   What process was involved in getting the work created? Was it an artist, architect team, or corporation who commissioned  or made the work?

For example in the writing by Lefebvre The "Production of Space", there are a few ideas I would like you to consider in regards to our current public art situation in Halifax.

1. The "Illusion of Transparency".  What does/could this mean today?

2.  His theory on space as a conceptual triad  - spatial practice (perceived space), representation of space (lived space)  and representational spaces (conceived space).  What does this mean? Can this be useful in our critique on public space and for art in public places?

For discussion we will look at the examples you posted last week.

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Questions and Considerations for this Week's Readings 2/2

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Questions and Considerations for this Week's Readings 2/2

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For Class Discussion on-line and off.  Give an Example of a good memorial or monument.

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Questions and Considerations for this Week's Readings:

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Questions and Considerations for this Week's Readings:

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We will discuss notions of Site in regards to Place and. Community. What is site-specific? What role does art have in the experience or construction of place?

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Text by Alex King

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But look past the dull and uninspiring committee-approved pieces and you'll find artists who genuinely capture the popular imagination to make you see space around you in a new light or rethink your relationship with the world around you - often while challenging and critiquing the status quo or powers that be.

Think Jeremy Deller towing the wreckage of a Baghdad car bomb around towns and cities in the US on a trailer to stimulate debate on the Iraq war, Alfredo Jaar burning down the cultural centre he'd just built in Skoghall, Sweden to get people talking about how desperately the town needed arts space, or Deborah Kelly's mass Tank Man re-enactment in cities around the world - complete with shopping bags - to honour the unknown hero who stood up to the army during their crackdown on the Tiananmen Square protests and resist the Chinese government's attempts to wipe the event from historical memory.

Public art can be so much more than just a way of filling space or trying to put your crappy town on the map. Author Claire Doherty surveyed a decade of public art projects and distilled the best down into her book Public Art (Now). She found artists who went beyond tick-box 'public engagement' to stage meaningful and provocative interventions in communities to heal wounds, highlight the lack of something they didn't even know they were missing or finally get them talking about the elephant in the room.

But can public art survive in an era of government cuts and the privatisation of public space? We spoke to Claire to about roundabout baubles and the future of public art.

What makes great public art?
Brian Eno once said, "Sometimes the strongest single importance of a work of art is the celebration of some kind of temporary community." Over the past decade we've seen artists and producers reject the idea of targeting a community or parachuting art like an uninvited guest into public space. But whilst there's a greater sensitivity to building a community around an artwork, great public art is rarely born out of consensus just as a true 'community' is rarely born out of geography. So when 23,000 people across 135 countries join as citizens of a newly formed nation and start writing the constitution (Alex Hartley's Nowhereisland) or farmers, activists and bakers gather to start building a public bakehouse on the banks of the fjord in the city of Oslo (Futurefarmers' Flatbread Society), you know that you are witnessing something of cultural value.

In terms of seeking 'great' art, I look for a work that sets the imaginative charge to spark a change in the way I perceive or act in the world. It might provoke or beguile me, often by heightening my senses. It alters my perception of or assumptions about a place, provokes conversation and usually establishes a connection with others and stays with me long after the initial encounter. It's rarely a statement of intent or a history lesson, but works to shift the ground beneath my feet.

Could you talk about a couple of your favourite projects from the book?
Time is increasingly a crucial material for artists working the public realm, so it's intriguing to trace how Jonas Dahlberg, Michael Sailstorfer and Katie Paterson (Future Library in Huck 49) tackle the past, present and future.

Public art has historically been associated with the memorial or monument to past events, serving as a site at which collective remembering takes place. In a decade that has witnessed a marked rise in ritual acts of public memorial, it's intriguing to see Jonas Dahlberg's proposal 'Memory Wound' - a memorial to the victims of the Norwegian terrorist attack of 22 July 2011. Dahlberg proposes to make a cut directly through the landscape, which acts as both a barrier to viewing the island of Utøya, site of the attack, and connects this place with the site of the bomb in Oslo by displacing the excavated material from the cut to the city site.

A work that cannily acts as a call to urgent action in the present is Michael Sailstorfer's 'Folkestone Digs' in which he announced one August morning in 2014 that he had buried 30 pieces of gold under the sand of the town's harbour beach. The artist used media as a distribution mechanism creating a story about the town, which created a modern-day gold rush, but which also continues to resonate as an urban myth in the town.

And finally to the future: in the spring of 2014, a thousand saplings were planted in Nordmarka, the densely forested region north of Oslo. Some 3,500 miles away, writer Margaret Atwood agreed to write a text that would remain unread for one hundred years. Each subsequent year until 2114, a different writer will similarly contribute a text to the archive, held in a dedicated room in the city's new Deichmanske Bibliotek public library - although no one will be allowed to read them. In 2114, the fully grown trees in Nordmarka will be cut down to provide the paper on which to print all hundred contributions together for the first time. A work by the British artist Katie Paterson, 'Future Library', is a work born out of a permanent public art programme for Oslo harbour, which acts as a gift for a future beyond our lifetime. Now that's real permanence!

What sort of changes have you witnessed in the public art world during the decade covered by the book?
Artists have always worked beyond the boundaries of the art institution or studio, but in the last decade we've seen a shaking up of the place and time of 'public art', giving rise to fleeting interventions - be they subtle disturbances or startling provocations - and dispersed works which utilise online gaming technology to take the audience on unexpected journeys. The proliferation of reccurring large-scale international exhibitions such as Documenta in Kassel or the Venice Biennale has led to artists disturbing the cultural tourist's bubble and putting them in direct contact with the social conditions that are often disguised behind the gloss of a contemporary art carnival.

But perhaps the most fundamental change in public art has been the increasing involvement of the public as active participants, often through an astute use of social media. In contrast the fleeting enjoyment of a mass spectacle, many artworks now invite the public to be more than consumers, involving them in the making of a work, or giving chances for their responses to become a part of the work. The result is a greater chance for artworks to resonate with us more deeply and to change the way in which we see and act in the world.

Could you briefly outline the debates surrounding public art today and why there's a feeling that there's an urgent need to redefine our thinking about it?
In collective imagination, public art is cast either as the controversial, uninvited guest or the mass entertainer. Characterised by monumental scale or mass appeal, the successful public artwork is often judged against its ability to galvanise popular opinion and contribute positively to place-making. Invariably if it fails on either count, it is judged against its price tag. British journalist Jonathan Jones has decried public art as "a production line for boring art, and mavericks have no place in its dreary ethic."

And yet this myopic view of public art masks its recent transformation beyond the gigantism of landmark sculpture, the mass appeal of participatory performance or the embeddedness of urban design. Towns and cities across the world are locked into a one-size fits all style of public art commissioning - a kind of cultural arms race. In a culture of globalised brands and clone towns, we hanker after authentic, distinctive places. So I say, if we are place-making, then let's make unusual places. We need smart urban design, uplifting street lighting and landmark buildings, but public art can do so much more than decorate. The days of bronze heroes and roundabout baubles are numbered.

What's the future for public art? What are the forces and/or changes that will drive the evolution of public art over the decade to come?
We're at a moment of profound change for the arts. In light of threats of further cuts from the British Treasury to arts funding and increased competition for public subsidy, it's time we made a fundamental change to how public art funds are allocated at local government level through the planning system. In 2012, funding for public art in the UK from Local Authorities alone totalled £22m, which is comparable to the amount spent on public and street arts through Arts Council England's Grants for Arts over eight years between 2003 and 2011. Economic growth is likely to bring increased private sector funding for public art because public art is aligned to public sector policies such as planning, regeneration, health and wellbeing and tourism. But to invest in new forms of public art requires a reshaping of our understanding of how public art is commissioned, produced, presented and consumed.

Commissioning public art is not a simple design-and-build-process. Artworks arrive through a series of accidents, failures and experiments. Moments of uncertainty and rethinking are the points at which the artwork comes into focus. So the future of public art rests upon whether we as curators, producers, arts organisations, funders, developers and policy-makers understand what contribution artists can make to the future of the places where we live and work and invest in their process. To do this, we'll need to skill up our arts organisations in new ways to tell the story, nurture new producing talent, win the trust of local authorities and developers to use funds for public art in new and surprising ways which give them a greater social return on investment, and perhaps most importantly, find new ways of getting under the skin of a place to grow public art projects from the ground-up.

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Great public art challenges authority and forces us to rethink our relationship with the world around us, says Claire Doherty, author of Public Art (Now).

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Rby Lucy Lippard

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by Tanya Harnett

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REQUIRED: The Location of / The Conditions for Art: On-Site Specifics and Site Adjustments

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REQUIRED: The Location of / The Conditions for Art: On-Site Specifics and Site Adjustments

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by Annie Gerin

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Sign in to NSCAD University's databases, ebooks, and online journals. Use the same username and password as you would your NSCAD email or NSCAD Self Service. NSCAD University, Halifax, Nova Scotia, Canada. A university of the visual arts.

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One Place After Another: Notes on Site Specificity

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One Place After Another: Notes on Site Specificity

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by Miwon Kwon

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Being and Circumstance: Notes Toward a Confidential Act (1985)

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Being and Circumstance: Notes Toward a Confidential Act (1985)

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by Robert Irwin

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1.https://www.thechronicleherald.ca/news/local/hrm-swooped-in-and-took-blm-mural-idea-from-community-projects-organizer-says-502858/

2.https://www.newsy.com/stories/mayor-has-black-lives-matter-painted-on-street-near-wh/

3.https://www.cbc.ca/news/canada/nova-scotia/black-lives-matter-street-art-installations-halifax-1.5739772

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Maya Lin on the challenges and triumphs of designing the Vietnam Veterans memorial

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Two quotes I thought you might like from Critique of Black Reason by Achille Mbembe, foom friend and author Dr. Nandi Odhiambo who currently lives and teaches in the USA. In regards to Confederate Statues:

“The encounter with the real can only ever be fragmentary and chopped up, ephemeral, made up of dissonance, always provisional, always starting anew. And there is no real—and therefore no life—that is not at the same time a spectacle or theater, the product of dramaturgy. The event par excellence is always floating. The image, or the shadow, is not illusion but fact” (130).

“The role of colonial statues and monuments is to resurrect, in the present, those who during their own lifetimes had threatened Blacks with the sword and with death. The statues function as rituals that conjure dead men in whose eyes Black humanity counted for nothing, which was reason enough for their lack of scruples at spilling Black blood over a trifle” (128

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Additional Questions/Considerations for this Weeks Readings:

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Additional Questions/Considerations for this Weeks Readings:

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If we have time I would like to discuss the Foucault's text and the notion of  Heterotopias.  What is the current space of today?  Can you give an example of a Heterotopia in society?

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Saw this today: Mellon Foundation to Spend $250 Million ReImagine Monuments

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Saw this today: Mellon Foundation to Spend $250 Million ReImagine Monuments

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by Jennifer Schuessler

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Mellon Foundation to Spend $250 Million to Reimagine Monuments (Published 2020)

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The initiative, the largest in the organization’s history, will support the creation of new monuments, as well as the relocation or rethinking of existing ones.

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Presentation for Class

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Danan lake for Art in Public Places MAED-6410

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I'd like to lead an essay on this topic

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I am interested in leading an essay on this topic

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I'd like to lead an essay on this topic

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I would like to lead a discussion here.

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What I particularly like about this addition of the collar to the Fearless Girl is that the sculpture itself was a counter-monument, and the collar functions as both memorial and counter-monument in one simple, elegant swoop. -sonia

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(Scroll to the bottom for a link to article from which this text is taken)

"Ginsburg explained in the 2015 book, 'Notorious RBG: The Life and Times of Ruth Bader Ginsburg,' that she had a specific 'dissenting collar' that she wore on days she planned to break ranks with her Supreme Court colleagues.
She added that: 'This is my dissenting collar… It looks fitting for dissents.'

—
It's not a coincidence that Ginsburg and 'Fearless Girl'  were tied together, given the rise of the statue's prominence as a symbol of women's leadership and strength.
An original plague for the statue read: 'Know the power of women in leadership. SHE makes a difference.' Ginsburg was celebrated for fighting gender-based discrimination and advocating for equality.
The collar was placed there by State Street Global Advisors, the asset management company that initially commissioned the statue.
The company placed an ad featuring the newly-decorated statue in The New York Times Sunday edition with the phrase: 'Here's to the original.' "

https://www.dailymail.co.uk/news/article-8757585/Tributes-Ruth-Bader-Ginsburg-continue-flow-Fearless-Girl-statue-adorned-collar.html

- sonia

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Uganda Martyrs Memorial

I don't like this monument because of the destabilizing nature that came with most christian missionaries during the colonization of Uganda in the 1800s. We can see in that picture some of the tribes men and women who were killed by their king when they converted to christianity. What I don't appreciate is the persistent  foul play behind the scene to gain an upper hand by the ruling colonial powers while innocent lives are lost.
- Andrew

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I like grave sites as monuments/memorials. It symbolizes Justice and reality after all is said and done. More so according to my belief, big or small we are all assigned once to live and then judgement.
- Andrew

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Ongoing debate around John A. MacDonald statue (2009-present) in Charlottetown

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Ongoing debate around John A. MacDonald statue (2009-present) in Charlottetown

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Random selection of comments from a CBC PEI article on the topic. They've published several and they always garner a huge amount of response and public opinion. A lot a lot of people invoke "history" in a very specific way in these discussions, a value which seems to be taught by monuments and memorials themselves (in their own self-interest).

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from Phaidon
Memorials Have Never Been More Controversial. Here's a Way Forward.

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Baphomet countering Ten Commandments - Akansas 2018

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Baphomet countering Ten Commandments - Akansas 2018

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Baphomet countering Ten Commandments - Akansas 2018

This is the example of a counter monument that came to mind. This Satanic monument was granted temporary access to be mounted at the Akansas Capitol building in the USA. This event came about as a counter after the state allowed the erecting of the Ten Commandments at the Akansas Capitol grounds. Akansas is a predominantly conservative Christian state where unveiling of the Baphomet statue attracted a crowd of furious Christian protesters. The Satanic community voiced out their right to freedom of religion saying if the Ten Commandment monument is allowed to stand, so should the Baphomet statue.

State Republican Senator. Jason Rupert who sponsored a 2015 bill that approved the placement of the Ten Commandment monument on the Capitol ground told reporters that he respects everyone’s right to free speech under the First Amendment.

But added that, "The people of Arkansas have the right to say that we disagree with your profane statements ... and really a war on the Ten Commandments."

The senator further added that "It will be a very cold day in hell before an offensive statue will be forced upon us to be permanently erected on the grounds of the Arkansas State Capitol.”

Their is a Lawsuit filed against Rupert’s monument, initiated by the state chapter of American Civil Liberties Union (ACLU) which argues that the display is discriminatory and unconstitutional. The Satanic temple is trying to join the ACLU lawsuit.

This counter monument caught my attention because like many others alike they seem to agitate a spiritual element in both place and space.
- Andrew Obol

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by A.L. Burk.

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by Patricia Phillips
Artforum (1989)

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Panel Discussion featuring: Brian McBay, Carolyn King, Diya Vij, Dylan Gauthier, Kendra Sullivan,  Sunita Prasad, Jane Weninger, Pamila Matharu.
Moderated by: Kari Cwynar.

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- baileehiggins

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Review by Sofie Kreidstein

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Hi. My name is Brody Weaver and I use they/them pronouns. I am very excited for this course as it relates a lot to a grant I am a research assistant on called "Memory Activism and Collaborative Processes of Counter-Memorialization" between NSCAD and Kings.

CW: Missing and Murdered Indigenous Women, femmicide, colonial violence

A public work, which I saw recreated in installation form that had a profound impact on me is Rebecca Belmore's Vigil (2002). The work was originally a public performance-intervention that was recorded on video. Information about the performance can be found here: https://www.rebeccabelmore.com/vigil/.
I saw the video component of the work adapted in the installation The Named and the Unnamed, which projected the video documentation over a wall of lightbulbs. You can read more about this work in the attached article, written by Elizabeth Otto.

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Hi my name is sofie kreidstein and I use they/them pronouns. A piece of public art that I found to be very impactful is the monument against fascism in Harburg by Jochen Gerz and Esther Shalev-Gerz.

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I: Graz 1988, p. 37. Bonn 1989a, p. 167. Harburg 1990, p. 9. Darnétal 1991, p. 48. Davis 1992, p. 2. Gütersloh 1993b, pp. 160, 162. Stuttgart 1993, pp. 159-160. Stuttgart 1994. Aschaffenburg 1995, p. 9. Ostfildern 1995, p. 82. Regensburg 1995a, pp. 256-257. Warzawa 1995, pp. 3-9, 11a. Arles 1996, pp. 150-151. Périgueux 1996, p. 10. Windsor 1996. Berlin 1997, p. 594. München 1997, pp. 144-145. Bolzano 1999, pp. 8, 52-57. Zürich 2000, p. 112. Vienna 2016, pp. 54-55. Frankfurt/New York 2016, pp. 8, 10-11, 13-14, 17-18, 21,29, 57-58, 105-106, 116, 118, 154, 172, 173. Ivry-sur-Seine 2017, pp. 24, 87-94, 180-181. Zagreb 2019, pp. 7, 10-11. Berlin 2022, pp. 28-29, 45.

II: Barkadma 1986. Brenken 1+2, 1986. Dagan 1986. Haase 1, 1986. Haase 2, 1986. Hohmeyer 1986, p. 250. Kipphoff 1986, p. 50. Rave 1+2, 1986. Red. 1, 1985. Red. 2, 1986. Red. 8-13, 1986. Red. 15, 1986. Red. 17-25, 1986. Red. 27+28, 1986. Schmid 1986. Spriestersbach 1986. Abeele 1987, p. 43. Antoni 1987, pp. 40, 42. Brockmann 1+3, 1987. Gibson 1, 1987, p. 5. Gibson 2, 1987, pp. 83-86, 105-106. Gibson 3, 1987, pp. 269-270. Gintz 1987. Hendelsalz 1987. Levy 1987, pp. 80-82. Rave 1987. Red. 2, 3+5, 1987. Schmid 1987. Schmidt-Wulffen 1, 1987, pp. 86-87. Welti 1987, pp. 62-65. Wichmann 1987. Drateln 1989, pp. 46-47. Göhring 1989. Red. 3, 1989. Schiff 2, 1989. Schmid 1989, pp. 32-33. Schneede 1989, p. 13. Red. 5, 1990. Red. 15, 1990. Drateln 1991, p. 21. Galloway 2, 1991, pp. 81, 87. Horch 1991. Koenneke 1991, p. 24. Madoff 1991, p. 119. Maranz 1991, p. 42. Pfütze 1991, pp. 89-92. Young 1991, p. 30. Albertazzi 1992, pp. 60-62. Endlich 1992, pp. 52, 56. Fleck 1, 1992, p. 53. Fleck 2, 1992, p. 104. Haase 1992, pp. 12-14. Jhering 1992, p. 95. Pejic 1992, p. 76. Saint-Cheron 1, 1992. Wulffen 1992, pp. 25-28. Cunoldi 1993, p. 29. Fleck 1993, p. 166. Glossner 1993. Passages 1993, pp. 36-37. Red. 23, 1993, p. 70. Rosen 2, 1993. Schmid 3, 1993, p. 8. Steinhauser 1993, pp. 105-112. The New York Times Magazine 1993, pp. 36-37. Bouyer 1994, p. 2. Ardenne 1994. Grasskamp 1994. Metken 1994, pp. 479-480. Omnibus 1994. Phillips 1994, p. 27. Raab 1994. Red 1994, pp. 192-194. Red. 3, 1994. Red. 23, 1994. Red. 24, 1994. Robin 1, 1994, p. 25. Salgas 1994. Limelight 1994, pp. 14-28. Albertazzi 1995, pp. 20-21. Art & Design 1995, Cover, p. 8. Barkadma 1995, p. 31. Fleck 1995, pp. 79-80. Haase 1, 1995. Kramer 1995, pp. 62-63. Ansel 1996. Mesnard 1996, p. 34. Red. 29, 1996. Asmuth 1, 1997. Baer-Bogenschütz 2, 1997. Crüwell 1997. Fischer 1+2, 1997. Haase 3, 1997. Henke 1+2, 1997. Huther 1-5, 1997. Rudel 1+2, 1997. Schneebeli 1997. Schossig 1997. Stöckmann 1997. Wagner 2, 1997. Young, 1997, pp. 859ff. This 1997/98, pp. 257ff. Young 1998, pp. 51ff. Pratiques. Réflexions sur l'art 6/1999, pp. 44-45. Kirchhoff 2001, pp. 219-256. Melvin 2002, pp. 89-90. Lupu 2003, p. 13-164. Robin 2003. Déotte 2004. Tilmann 1 2004. Fau 2006, pp. 62-69. Lozano Hemmer 2008, p. 88. Bordeleau 2008. Callaghan 2010. Jones 2010, pp. 25-26. Duva 2011, pp. 142-151. Björgvinsson, Høg Hansen 2011, pp. 9-11, 15-19. Stubblefield 2012, pp. 1-11. Stevens, Franck, Fazarkerley 2012. pp. 952-955. Redeker 2013. Bauerfeind 2014, pp. 79-81. Guigues 2015, pp. 14-17. Rosen 2015. Etter 2017. Milohnić 2017. Poitevin 2017. Vistrup Madsen 2017. Rousseau 2017. Baticka 2018. Déotte 2018. Heggren 2019, pp. 101-104. Nayar 2019. Bougnoux 2020. Funken 2020. Heathcote 2020. Widrich 2020. Andrighetto 2021. Davidson 2021. Heathcote 2021. López Cuenca y Ribalta 2021. Smith 2021. Vera 2021. Weber 2021. Sternfeld 2021. Schult 2022. Tillier 2023

III: Schmidt-Wulffen 1987, pp. 318-321. Flügge 1993, p. 35. Lichtenstein 1993, p. 12. November 1993 / 1994,Jochen Gerz und Esther Shalev-Gerz, pp.20-29, Koenneke 1994. Bouyer 1994, p. 2. Raab 1994. Raguez 1994, pp. 31-33. Abeele 1995, pp. 92-93. Könneke 1997. Lichtenstein/Waicman 1997, pp. 63ff. Mesnard 1997, p. 75. Young, 1997, pp. 860-863. Petzel 1998. Schmidt 1998. Wright 2000. Tipton 2006, Schweitzer 2011. Pühringer 2012, pp. 114-125. Mesnard 2015. Gagliano 2016, pp.160-161, Lukina 2016.

IV: Hamburg 1991, Mainz 2010 f, Nuremberg 2018

V: Jones 1988, pp. 39-40. Saarbrücken 1989, p. 27. Blümler 1989, p. 12. Krempel 1989, pp. 171-183. Klant 1990, p. 248. Spielmann 1991, pp. 21-22, 31. Deacon 1992, p. 21. Schulz 1992, pp. 81-84. Wolf 1992, pp. 76-78, 208. Deecke 1993, p. 193. Young 1993, pp. 28-37. Debicki 1995, p. 267. Heinrichs 1995, pp. 15-16. Hesse 1995, p. 44. Kunstamt Schöneberg 1995, p. 38. Reichel 1995, pp. 119-121. Reuße 1995, pp. 266-272. Thiele 1995, pp. 165-167. Fleck 1996, pp. 26-27. Midant 1996, p. 56. Clark 1997, pp. 121-123. Otto 1997. Staffa 1997, pp. 42-43. Petzel 1998, pp. 71-72. Thierry 1998, p. 43. Wajcman 1998, pp. 192ff. Young 2000 p.131. Grabe/Michelsen 2003. Thiery 2003, pp. 335-355. Baqué 2004, pp. 169-171. Carrier 2005. Denker 2005. Fenz 2005, pp. 163-165. Guigues 2005. Sigel 2005. Bandyopadhyay 2007, pp. 166-169. Tomberger 2007. Zevi 2007, pp. 33-35. Beyes 2009, pp. 97-98. Kaoru 2009, p.89. Springer 2009. Baumann 2010, pp. 51-56, 59-63. Miles 2010, pp. 63-71. Scardi 2011, pp.185-186. Seipelt 2011. Grechi 2013, pp. 323-335. Kalb 2013, pp.144-146. Zask 2013, pp. 2018-209. Hoeven 2015, pp. 210-250. Guerisoli 2014, p. 182. Mouillaud 2014, pp. 3-12. Trouche 2014. Widrich 2014 pp. 144-193. Frankowsky 2015, p. 27. Frechuret 2016, pp. 287-294. Langen-Wettengl 2017, pp. 74-85. Pearl 2017, pp. 18-19. Winter 2017, p. 154. Zevi 2017, pp.18, 43-44. Bernou 2019. Debary 2019, pp. 89-93. Bailey 2020. Karle, Krieger 2020, p. 27. Melvin, Fernie 2021. Quercioli Mincer 2021, pp. 296-301. Becker 2021. Bechy 2022 pp. 81-84. Feldman 2022

VI: Hoffmann 1990, pp. 206-211. L'art en temps de crise 1994, pp. 152-153. Docquiert, Piron 1998, pp. 67-73. Sneem 2017: Public Authorship.
Access general bibliography

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We invite the citizens of Hamburg-Harburg, and visitors..., to add their names here to ours. In doing so we commit ourselves to remain vigilant...

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Hi, I'm Sonia (she/her).
‘Shadow on the Land, an excavation and bush burial’ by Nicholas Galanin is a recent work that made the hair on my neck stand up! Here's a 2-minute video of him discussing the piece, created for this year's Sydney Biennale in April:

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NIRIN Artist Interview | NICHOLAS GALANIN | “When you look to the land and look to our ancestral communities and the knowledge of our Indigenous communities, there’s a lot of knowledge and... | By Biennale of Sydney | Facebook

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“When you look to the land and look to our ancestral communities and the knowledge of our Indigenous communities, there’s a lot of knowledge and...

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The image below is the bike lock outside of the Contemporary Art Gallery in Vancouver. Is a very unassuming object and I have never been able to find any information about it. It is a functional bike lock and has no labeling of any kind, but the use of white marble and its situation near the gallery blurs its position between art, and infrastructure. Its something that one might not notice, and if they did may not think of as art. for me the discovery of it was a magic moment. Its a small unobtrusive sculpture that blends into its surroundings until you notice it and it jumps into your mind and stays there.

another work that has a similar nature of being stumbled upon but used in memoriam are Stolpersteine by Guenther Demnig.
these memorials can be found all over europe and are site specific works that remember people that were victims of the natzis in the streets outside their former homes(below)

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http:://www.stolpersteine.eu/en/home/

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Hi I'm Felix Bernier (he/him)

I selected Shimon Attie's The Writting on the Wall project. Even though I won't be able to see the projections in person (those projections were made in the early 1990s), they impacted how I approach alterations of public spaces.

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For The Writing on the Wall project, I slide projected portions of pre-world war II photographs of Jewish street life in Berlin onto the same or nearby addresses where the photos were originally taken 60 years earlier. By using slide projection on location, fragments of the past were thus introduced into the visual field of the present.

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Hi, I’m Bailee (She/her). A note able public artwork for me is the Stravinsky Fountain. It was one of the first large scale public art pieces I’ve seen which is what made it have a big impact on me. It represents the work of a composer which is surrounded by 16 more sculptures by Niki de Saint Phalle and Jean Tinguely.

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This unusual fountain is intended to evoke the emotional and sometimes strange music of Igor Stravinsky. In addition to the expected treble clef, a clown's bowler hat, a pair of red lips, and a mermaid with water squirting out of her breasts are some of the fountain's figures inspired by the most influential classical music of the 20th century.

This is the work of sculptor Jean Tinguely and painter Niki de Saint Phalle. Tinguely's works are typically in a Dadaist style-intricate machine-like structures painted shining industrial black. Saint Phalle's works, on the other hand, are primitive and bright. The combination of these two styles makes the fountain appear whimsical and disorderly.

According to Tinguely, the "circus-like" chaos of the fountain is intended to evoke Stravinsky's encounters with jazz. Additionally, the artists asked that the water be left untreated and that moss be allowed to grow on the fountain so that nature could contribute to the work.

It wasn't without controversy though. When it was unveiled in 1983 some found the primary colors and abstract shapes gaudy and at odds with the refinement of classical music. The fountain remains one of the most photographed attractions in the neighborhood though.

The artists did not want the fountain to overwhelm the already eye-catching Centre Pompidou. The fountain is low to the ground and approachable, with low-powered motors in the waterworks so that visitors can wade in the water on hot days.

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Discover The Stravinsky Fountain in Paris, France: A series of abstract, silly sculptures represent the works of a great modern classical composer.

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(She/her/whatever you wish)
I have thought a lot about a recent work, installed just over a year ago in Istanbul, Turkey. It is an untitled installation of 440 pairs of high heeled shoes on the fascade of a building in a busy area of the city. Created by Vahit Tuna the shoes symbolize the number of women killed by domestic/sexual violence in 2018. During the month in which it was displayed, 49 women were murderd.

It is a haunting installation, the shoes very much feel like people... and apparently, it is a tradition to put the shoes of the recently deceased outside in memorium. The scale of it is impression and impactful... and it does remind me of the red dress work for missing and Indigenous women. But it also has stuck with me because it is a work by a male artist. I instantly feel this ache because I doubt a female artist would have gotten the same opportunity or accolades. The work is about the power men hold in that culture, the suffering of women, etc, and it holds power for that reason - but it also says a lot when work about oppression is done by a member of the privileged group and not by the oppressed. It changed the story for me when I learned that.

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Domestic violence is a social issue that shouldn't be downplayed in any case. No "Yeah, I hit her but we made up" type of situation should be dismissed as unimportant because in many cases the victim is too scared to act up and ends up suffering abuse in silence. Sadly, on some occasions, this silence can prove to be fatal.

Turkish artist Vahit Tuna has recently erected a memorial in Istambul that commemorates the 440 Turkish women killed by their husbands last year and it's truly haunting. It features 440 pairs of shoes hung up on a wall and will hopefully draw peoples' attention to this sensitive problem.

More info: Yankose

One Turkish artist erected a haunting memorial in Istambul featuring 440 pairs of shoes

According to the statistics, nearly 40 percent of Turkish women have suffered physical violence in a relationship.

It commemorates the 440 Turkish women killed by their husbands last year

The memorial was created by a Turkish artist named Vahit Tuna

Vahit says he was inspired to create the memorial after seeing more and more messages about domestic violence appear on social media. He noticed that the stories tended to be forgotten quickly and wanted to create something that wouldn't go unnoticed.

Vahit used high-heels as a symbol of feminine power and independence

The shoes did not belong to the victims and were used as a cultural gesture

The artist has received some criticism for using high-heels in the projects. He defended himself by saying he chose them not only based on aesthetical reasons but also because they symbolize that a woman is employed and therefore not dependent on their spouse.

There's a tradition of putting a person's shoes outside after they pass in certain regions of Turkey

The shoes become a symbol of mourning

The memorial is located in the center of Istanbul

It will remain on display for 6 months

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This Artist Created A Haunting Memorial To Commemorate The 440 Turkish Women Killed By Their Husbands Last Year | DeMilked

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Turkish artist Vahit Tuna has recently erected a memorial in Istambul that commemorates the 440 Turkish women killed by their husbands last year and it's truly haunting.

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Hi, My name is Hama (She/Her)
One of the many pieces of public art that has had a strong impact on me is a ‘Abbott & Cordova, 7 August 1971’ by Stan Douglas.
A piece that somehow sees like a combination of photograph and film.
As someone who studied the piece, while experiencing it when living in Vancouver it is one that has stuck with me.
Staging the large group image allows it to address many issues (gentrification, police brutality) in one picture. The effects of real (similar) events from this time are still being felt.

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Hi, I'm Jordan, I use they/them or she/her pronouns (or a combination). There's this double-sided painting on scrap sheet metal that someone put up decades ago along route 17. It's not a sign or an advertisement, just an anonymous image, installed on a relatively quiet section of rural road. It's not by a known folk artist and it's not part of a series. It's just there, like kitsch graffiti.

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Hi I'm Zehua, my English name is Zen, (he/him)

The work in the public space that impressed me the most was sky ladder.
Most of Cai Guoqiang's works are painted in the sky with the explosion of fireworks. I feel his passion from his work that touch the sky with art and talks with the universe and nature.

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Sky Ladder | Official Trailer [HD] | Netflix

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Kenyan born Artist. Masters in Art Education student.

This is a sculpture in Stone Town

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Hi, you can please call me OJ.

African Renaissance Monument ( Le Monument de la Renaissance Africaine )

This public artwork has had a profound impact on me ever since I spared a monument to observe it on one of my social media feeds. I hope to behold it in person one day.

This artwork is located in Senegal and was commissioned by the Senegalese president Abudoulaye Wade. The monument represents an African Family coming out of the bowels of the earth, leaving obscurantism to go toward the light. First of all, I liked that the artwork is not abstract so as to leave a great gap of mystery for the audience to fill which is commonly used to conceal knowledge. We can clearly see that what is being celebrated here is a strong African family comprising of man, woman and child which has been the  epitome of African people’s survival.
The famous Senegalese artist Ousmane Sow initiated the artwork but it is said that it was drawn by Abdoulaye Wade who owns 35% of the copyright.

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How to Revive a Neighbourhood with Imagination, Beauty and Art

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How to Revive a Neighbourhood with Imagination, Beauty and Art

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by Theaster Gates
TED Talk

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Theaster Gates: How to revive a neighborhood: with imagination, beauty and art

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Mierle Laderman Ukeles, NSCAD Sculpture Public Lecture Series

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Mierle Laderman Ukeles, NSCAD Sculpture Public Lecture Series

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The Social Turn: Collaboration and Its DiscontentsClaire Bishop

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The Social Turn: Collaboration and Its DiscontentsClaire Bishop

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Bishop, Claire_The Social Turn, Collaboration and its Discontents

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Claire Bishop, NSCAD Sculpture Public Lecture Series

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Claire Bishop, NSCAD Sculpture Public Lecture Series

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And just like that, it's October again!

We've been planning Nocturne for months and now we want to help you make a plan to have the best Nocturne (dare we say, ever?)!

This year's festival has so much to offer- including an extensive list of engaging virtual and physical programming and an entire week to take in everything. With the extra time and space to experience more than you have ever before, and most from the comfort of your own home, we can't wait for you to jump in.

Table of Contents:

Make A Plan

Zoom Etiquette

Accessibility & Safety

COVID Precautions

Getting Information & Volunteers

The Nocturne Guide

Share Your Experience

First off, for those of you new to Nocturne, let us introduce ourselves! Nocturne: Art at Night is an annual celebration of contemporary professional art in K'jipuktuk/Halifax and this is the 13th annual festival. Typically a one-night festival, this year we're presenting a hybrid/distanced version to bring art to the streets (and internet-connected devices!) of K'jipuktuk/Halifax and virtually everywhere.

To have the best time at Nocturne, you'll first want to...

Make A Plan

While you won't be running the streets of K'jipuktuk to get to 100 projects in one night, you will need to plan ahead to know what's happening each day of the festival. This way, you won't miss any of the special scheduled programming. Nocturne projects this year take a few different forms:

1. Physical projects
Either at scheduled times OR available throughout the entire week

2. Virtual projects
Either at scheduled times OR available throughout the entire week

3. Hybrid projects
Available in both physical and virtual formats

To make your plan, start by checking out each category on our brand new Projects page. Click through and take note of the ones that intrigue you! Or check out one of our suggested Nocturne Tours to get you started!

Click on each project to find out more information - whether it's happening at a scheduled time or if it's available throughout the entire week. Some projects allow you to pre-register you can click the link to Register Now! and we've even added a handy "Add to Calendar" option.

For our physical and hybrid projects, we are taking COVID-19 seriously. And we want you to, as well! We have spaced out the projects in an effort to avoid large gatherings. Keep in mind all the public health regulations and take a look through our COVID-19 precautions here.

Whatever you do, your plan should definitely include:

The mid-week TAKEOVER party with HEIST on October 15 at 7:30 pm! Including LIP SYNC ROULETTE, you won't want to miss this!

A Nocturne Black IPA brought to you by our long-term pals Propeller Brewing (for 19+ beer-lovers!). $1.50 from every beer sale goes to Nocturne.

Zoom Etiquette

For those of us who haven't been stuck on Zoom meetings since mid-March, there are some tips and tricks we'd like to share to ensure you & the rest of the audience have a great time accessing the virtual projects (many of which are hosted on Zoom!):

1. Download (or update!) the Zoom software before October 12th.

2. Make sure you have a stable internet connection; try a hardwired connection if your wi-fi signal is low.

3. Stay on mute if you're not talking to avoid background noise impacting others' experience.

4. Don't share your Zoom invitation link. Some projects use registration codes that create unique invitation links for each person! Sharing your link with a friend can cause connection issues for both of you.

5. Be respectful in all interactions. Nocturne has a Safer Spaces policy in place and this extends to the virtual projects, whether you're on video, audio, or in the chat room.

Safety & Accessibility

Every year we work hard to provide a safe and accessible experience for all who attend the festival so we would be remiss if we didn't mention the importance of accessibility and your safety at Nocturne! This looks a little different when it comes to a partially online event. We've broken down these two topics in the next section:

Accessibility

Nocturne strives to highlight specific available services throughout the festival. Where possible, we have provided ASL interpretive services at some of our key online events. We also are happy to provide CC at your request (contact us at [email protected]).

First, we encourage all of our artists to host their projects in accessible spaces. Find all accessibility information for venues on individual project pages. As well, we ensure that gender-neutral washrooms and their locations are easily identifiable at each physical project location.

We're always striving to make the festival more accessible, and are open to feedback at [email protected].

Safety

Our goal is for everyone to have a safe experience at Nocturne! If you do choose to get out and take in the physical projects, look to the experts at Heads Up Halifax on how to best ensure your safety while you're roaming the art-filled streets during Nocturne!

The Heads Up Halifax campaign reminds everyone to:

Make eye contact with drivers, pedestrians, or cyclists when approaching a crosswalk to ensure you are seen and your intentions [to cross] are understood. No assumptions. No surprises.

Slow down as you approach a crosswalk and scanning the street when approaching crosswalks and intersections

Press the button to activate the overhead lights (when they exist) and not crossing the street when the flashing hand sign is present

Avoid all distractions when driving or walking into a crosswalk area, whether people, cars, or bikes are present or not.

COVID Precautions

We take COVID-19 seriously and have some reminders for everyone attending Nocturne. See our COVID-19 Precautions here.

Volunteers & Getting Information

While we won't have a "Hub" like past years, Nocturne volunteers will be out and about handing out guides and helping you find the information you need to enjoy the festival! You can find volunteers along the Halifax Waterfront as well as at the Halifax Central Library. Volunteers will also be stationed close to physical projects - look for the folks in the white vests and blue masks (made by Taya Ties).

Our volunteers can help you find:

The nearest project

Closest washroom

A fresh copy of The Nocturne Guide

And more!

Some of our volunteers are newcomers to our great city and are looking to get to know it better - make sure to say 'hi' when you see them!

The Nocturne Guide

If you don't know yet, The Nocturne Guide is your go-to for all the information on projects the night of Nocturne. This year it is a little special! On one side, The Nocturne Guide features a limited edition poster for you to take home; On the other side, you'll find a breakdown of the projects, including type, category, location and how to engage with them!

You can pick up a copy of the guide from a volunteer or in any copy of The Coast October 15th edition - you can find The Coast at 600 locations, including "on wire racks on every university and college campus, in high-traffic retail locations, entertainment establishments, and newspaper boxes around the city." Although, the highest concentration of The Coast boxes are found on the peninsula, you're able to find a copy of The Nocturne Guide wherever you find a copy of The Coast in your hometown in HRM. You can also see it here on their website.

We've also pulled out the "schedule" section of this year's guide for easy viewing here!

Share Your Experience

We want to hear from you! How was your experience at Nocturne whether online or in-person? Tag us @NocturneHalifax on Facebook, Twitter, and Instagram and share your photos, ideas, and comments.

Looking for more?

The best way to get information about Nocturne is to follow us on social media and make sure your notifications are turned on! We will be sharing your content throughout the week of Nocturne and posting LIVE from art installations all over the city. We'll also keep you informed of any changes to project locations, schedules, and more.

And there you have it - how to prepare to have your best Nocturne yet!

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Nocturne: Art at Night is K'jipuktuk / Halifax's annual free all-night contemporary art festival. The event is the largest art festival in Atlantic Canada and its additional programming uses art as a catalyst for connection.

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Felix Bernier - Carley Mullally 100 Years

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sonia - counter monument / presentation slides

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sonia - counter monument / presentation slides

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Danan Lake  Nocturne 2020 Signal _ Return

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Hossein Khodabakhsh will lead a discussion on: Urban photography as counter-monument in Urruzola’s Miradas ausentes (en la calle) by David Rojinsky.

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The Journal of Romance Studies Volume 13 issue 3 2013 [doi 10.3167_jrs.2013.130304] Rojinsky, David -- Urban photography as counter-monument in Urruzola's Miradas ausentes (en la calle)(1)

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Sofie Kreidstein will lead a discussion around: The Counter-Monument: Memory against Itself in Germany Today, Critical Inquiry, V18, No 2. (1992), 267-296 by Young, James E.

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Urruzola’s Miradas ausentes (en la calle)

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Nocturne Review

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From Site to Community in New Genre Public Art: The Case of "Culture in Action", Miwon Kiwon, 2002.

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From Site to Community in New Genre Public Art: The Case of "Culture in Action", Miwon Kiwon, 2002.

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-Brody

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Toronto Public Art Strategy (10 year Plan)

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Toronto Public Art Strategy (10 year Plan)

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Antagonism and Relational Aesthetics, Claire Bishop, 2004.

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Antagonism and Relational Aesthetics, Claire Bishop, 2004.

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Saying "No" to Participatory Video: Unravelling the Complexities of (Non)participation, E-J Milne, chapter 16 in Handbook of Participatory Video, 2012.

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Saying "No" to Participatory Video: Unravelling the Complexities of (Non)participation, E-J Milne, chapter 16 in Handbook of Participatory Video, 2012.

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This is an article more from the perspective of participatory research methodologies - but I think very related to how artists are working today.

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http://camilleturner.com/project/afronautic-research-lab/

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The death of emancipatory social work as art and birth of socially engaged art practice, British Journal of Social Work, 2015

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The death of emancipatory social work as art and birth of socially engaged art practice, British Journal of Social Work, 2015

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Suzanne Lacy, De tu puño y letra (By Your Own Hand), 2014-2015

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Suzanne Lacy, De tu puño y letra (By Your Own Hand), 2014-2015

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https://www.suzannelacy.com/de-tu-puno-y-letra

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Barbara Lounder and Bob Bean:  Breathing-in-the-Breathable: An annotated walk. 

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Barbara Lounder and Bob Bean:  Breathing-in-the-Breathable: An annotated walk. 

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Attachment 1_Public Art Acquisition Summary 2008-2019

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1. Public/open calls with juried selection are often perceived as the most equitable path to hiring artists, whether for public art commissions, festivals such as Nocturne, residencies, gallery exhibitions, etc. In what ways are public calls not equitable?

2. Halifax currently has a non-mandatory 1% policy for public construction projects. Should it adopt a mandatory Percent for Art policy? What are the risks?

3. In what circumstances may the moral rights of an artist become negligible?

4. Based on the purposes and policies included in Halifax’s Public Art Policy, what worthwhile values and priorities are missing? How could this be addressed by new or amended policy?

5. Public/community consultation is key to the process of creating permanent public art projects. What does successful community consultation look like?

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Interdisciplinary Collaborations, Art Residencies - New Forms of Public Art

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Interdisciplinary Collaborations, Art Residencies - New Forms of Public Art