2010
DOI: 10.1086/652738
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Slavery and Its Memory in Public Monuments

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Cited by 5 publications
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“…Who precisely will bear the burden of making those materialized symbols do that work?" A more fair and productive approach might be to replace them with works that memorialized the Black experience of slavery and American history (Ater, 2010), addressing historical memories that actually have been silenced in precisely the ways Trouillot (1995) argued, if not "erased" entirely (certainly much more so than in taking down a statue of Robert E. Lee). Moreover, the act of removal can be a powerful new statement of current social action that can itself be remembered and memorialized: as Classical art historian Mary Beard (2020) (though herself an opponent of "Rhodes must fall") points out, "iconoclasm can be performance art," an observation that is cleverly illustrated by Banksy's proposal that the Colston statue in Bristol be reinstalled with additional sculptural figures posed in the act of pulling it down (Figure 3), 7 itself reminiscent of Parcak's instructions for toppling an obelisk.…”
Section: Conclusion: Heritage As Transformative Practicementioning
confidence: 99%
“…Who precisely will bear the burden of making those materialized symbols do that work?" A more fair and productive approach might be to replace them with works that memorialized the Black experience of slavery and American history (Ater, 2010), addressing historical memories that actually have been silenced in precisely the ways Trouillot (1995) argued, if not "erased" entirely (certainly much more so than in taking down a statue of Robert E. Lee). Moreover, the act of removal can be a powerful new statement of current social action that can itself be remembered and memorialized: as Classical art historian Mary Beard (2020) (though herself an opponent of "Rhodes must fall") points out, "iconoclasm can be performance art," an observation that is cleverly illustrated by Banksy's proposal that the Colston statue in Bristol be reinstalled with additional sculptural figures posed in the act of pulling it down (Figure 3), 7 itself reminiscent of Parcak's instructions for toppling an obelisk.…”
Section: Conclusion: Heritage As Transformative Practicementioning
confidence: 99%