A Questionnaire on Monuments

“A Questionnaire on Monuments” features 49 responses to questions formulated by Leah Dickerman, Hal Foster, David Joselit, and Carrie Lambert-Beatty: “From Charlottesville to Cape Town, there have been struggles over monuments and other markers involving histories of racial conflict. How do these ch...

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Bibliographic Details
Published in:October 2018-08, Vol.165 (165), p.3-177
Main Authors: Allais, Lucia, Anderson, Noel W., Weiner, Andrew, Bruguera, Tania, Burr, Tom, Carroll, Mary Ellen, Cassils, Chan, Paul, Cole, Andrew, Diers, Michael, Durant, Sam, Fiduccia, Joanna, Fischer, Noah, Flood, Finbarr Barry, Foner, Eric, Fusco, Coco, Green, Renée, Harrison, Rachel, Hayes, Sharon, Hirschhorn, Thomas, Huyssen, Andreas, Kolbowski, Silvia, Kunkel, Benjamin, Kunzru, Hari, Kushner, Rachel, Benning, James, Lansdowne, John, Lax, Thomas J., Lê, An-My, Lewis, Sarah, Lichtenstein, Alex, Lichtenstein, Andrew, Marcus, Greil, Mbembe, Achille, Nuttall, Sarah, Mohaiemen, Naeem, Nadkarni, Maya, Nelson, Steven, Nyong'o, Tavia, Phillips, Ruth B., Reitz, Chris, Rowland, Cameron, Savage, Kirk, Sholette, Gregory, Slifkin, Robert, Small, Irene V., Smith, Jason E., Stierli, Martino, Upton, Dell, Wilson, Mabel O., Winegar, Jessica
Format: Magazinearticle
Language:English
Subjects:
Attitude surveys
Memorials & monuments
Public art
Race
Sculpture
Social conditions & trends
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Summary:“A Questionnaire on Monuments” features 49 responses to questions formulated by Leah Dickerman, Hal Foster, David Joselit, and Carrie Lambert-Beatty: “From Charlottesville to Cape Town, there have been struggles over monuments and other markers involving histories of racial conflict. How do these charged situations shed light on the ethics of images in civil society today? Speaking generally or with specific examples in mind, please consider any of the following questions: What histories do these public symbols represent, what histories do they obscure, and what models of memory do they imply? How do they do this work, and how might they do it differently? What social and political forces are in play in their erection or dismantling? Should artists, writers, and art historians seek a new intersection of theory and praxis in the social struggles around such monuments and markers? How might these debates relate to the question of who is authorized to work with particular images and archives?”
ISSN:0162-2870
1536-013X
DOI:10.1162/octo_a_00327