Debates about Confederate monuments as arguments with your parents about them displaying a giant portrait of your shitty ex over their mantelpiece: a thread.
Adding contextualizing signage to a monument = your parents sticking a post-it to the portrait frame that says “some people argue that Jerry was a jerk, but other people still believe he would have made our sweetie very happy in the long run.”
Moving Confederate monuments to cemeteries = your parents saying “fine, sweetie, if you don’t want to look at Jerry, we’ll just move the portrait to our bedroom.”
Putting up counter-monuments = “Look, we added a photo of your husband to the living room - now people can make up their own minds about which one you should have married! Oh, sorry, there’s only room over the mantel for one portrait, so we put Bob down there on the end table.”
Moving the monument to a museum = “We took down Jerry’s portrait. But whenever any of the neighbors asks how you’re doing, we break out a scrapbook full of photos of him to explain your life!”
Returning the monument to a Confederacy heritage group = “Jerry’s sister offered to take his portrait - it’s going to be the centerpiece of a public exhibit about how wonderful he is and how you’re a mentally unstable whore! Let’s go visit next time you’re in town!”
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Today, I'm thinking about the inmates of the Stone Mountain Correctional Institute, who dyed eggs for the world's largest Easter egg hunt in the shadow of the world's largest Confederate monument - one they were forced to help make. Here's the story.
Stone Mountain is, in the words of the SPLX, “the largest shrine to white supremacy in the history of the world.” It was begun in 1916 and finished only in 1972, on the side of a mountain outside Atlanta famous as birthplace of the revived Klan: splcenter.org/fighting-hate/…
While researching it for my book, I grew fascinated with one little-known aspect of its history: the convict labor at the heart of its economics.
Since the 2020 protests, thirteen state legislatures have considered bills that would make the removal of public monuments more difficult, ranging from adding a few bureaucratic hoops to flat-out prohibitions. Here's my list:
Georgia HB 238 (2/2021): forbids authorities from removing or concealing any publicly owned monument to any military personnel, whether of US or the Confederate States of America.
I've been tracking state legislatures that have seen the introduction of bills proposing increasing criminal penalties for vandalizing monuments since the 2020 protests. Here's my list:
Alabama HB 133 (2021): would establish the crimes of damaging a public monument in the 1st and 2nd degrees, would provide criminal penalties, including a mandatory minimum sentence for a violation, and would provide for a mandatory holding period for an arrest.
Arizona HB 2552 (2021): damaging a public monument = aggravated criminal damage
SB 1639 (2021): recklessly damaging a public monument = criminal damage and enacts punishments for different degrees
Super specific question time: can anyone remember an instance of someone praising an artwork they deliberately destroyed?
I can only think of people saying what they destroyed or damaged was not really art, or not good art (with possible exception of Rauschenberg erasing that de Kooning).
I'm asking because I'm thinking about what a common move it is for iconoclasts (writ broadly) to say they don't think what they're destroying is art or good art. I had been thinking of this as a rhetorical technique, to convince an audience, but I'm starting to wonder if...
Want to know more about how white supremacy is baked in to the US Capitol Building? Let's think about the statue topping its dome. She symbolizes Freedom... and was made in part by Philip Reed, an enslaved man. (Thread)
Thomas Crawford was commissioned to sculpt Freedom in 1854 - but he had to redo his original design (left) after Jefferson Davis threw a temper tantrum about... her hat.
The future president of the Confederacy was then the Secretary of War and oversaw the expansion and decoration of the Capitol Building. He used his position made sure that none of the new sculptures and paintings for the building criticized slavery.