This book explores the ways in which statues have been experienced in public in different cultures and the role that has been played by statues in defining publicness itself. The meaning of public statues is examined through discussion of their appearance and their spatial context and of written discourses having to do with how they were experienced. Bringing together experts working on statues in different cultures, the book sheds light on similarities and differences in the role that public statues had in different times and places throughout history. The book will also provide insight into the diverse methods and approaches that scholars working on these different periods use to investigate statues. The book will appeal to historians, art historians and archaeologists of all periods who have an interest in the display of sculpture, the reception of public art or the significance of public monuments.
This book explores the ways in which statues have been experienced in public in different cultures and the role that has been played by statues in defining publicness itself. The meaning of public statues is examined through discussion of their appearance and their spatial context and of written discourses having to do with how they were experienced. Bringing together experts working on statues in different cultures, the book sheds light on similarities and differences in the role that public statues had in different times and places throughout history. The book will also provide insight into the diverse methods and approaches that scholars working on these different periods use to investigate statues. The book will appeal to historians, art historians and archaeologists of all periods who have an interest in the display of sculpture, the reception of public art or the significance of public monuments.
Twentieth Anniversary Edition with a new preface and afterword From the removal of Confederate monuments in New Orleans in the spring of 2017 to the violent aftermath of the white nationalist march on the Robert E. Lee monument in Charlottesville later that summer, debates and conflicts over the memorialization of Confederate “heroes” have stormed to the forefront of popular American political and cultural discourse. In Written in Stone Sanford Levinson considers the tangled responses to controversial monuments and commemorations while examining how those with political power configure public spaces in ways that shape public memory and politics. Paying particular attention to the American South, though drawing examples as well from elsewhere in the United States and throughout the world, Levinson shows how the social and legal arguments regarding the display, construction, modification, and destruction of public monuments mark the seemingly endless confrontation over the symbolism attached to public space. This twentieth anniversary edition of Written in Stone includes a new preface and an extensive afterword that takes account of recent events in cities, schools and universities, and public spaces throughout the United States and elsewhere. Twenty years on, Levinson's work is more timely and relevant than ever.
Palmyra has long attracted the attention of the world. Even before its rediscovery in the eighteenth century it had gained legendary status because of its third-century CE Queen Zenobia, who had rebelled against the Romans and expanded Palmyra's territory into that of an Empire, stretchingfrom what is modern eastern Turkey into Egypt. The city and its queen featured in European art and literature already in the century. Zenobia's Palmyra already existed as a mirage in the minds of the educated Europeans. Even though Zenobia's reign and extensive power was a fairly short interlude andthe Romans struck hard against the Palmyrenes devastating the city, this path to imperial power was one which tells us an immense amount about Palmyrene identity in the period before the devastation. While Zenobia has gained renewed interest among both scholars and the press, and while she hasserved as a political symbol for Syria's president As'ad (a statue of her was recently erected in Damascus), the time leading up to her reign still remains underexplored.With the current situation in Syria, a researched-based narrative is urgently needed to communicate the importance of this site to the general public. Palmyra has over the last years been used as a symbol of the resistance of the rebels, the power of ISIS over the region, as well as the supremacy ofthe Syrian state. UNESCO and the Russians have together with the Syrian state taken a particular interest in Palmyra and in monopolizing the potential rebuilding of the site after the destruction and looting of the past several years have subsided. We are, so to speak, standing at yet anotherturning point in Palmyra's long history, where history is being reinvented actively by several parties. There can be no doubt that the time is ripe for a book on the archaeology and history of Palmyra, as well as an analysis of the current situation, including the destruction and illicit traffickingof material remains from Palmyra. These three main topics will together highlight the ways in which this fascinating site has again and again captured the world's focus.Organized in nine chapters, this compact book will set out to provide an introduction for students and general readers. Following two overview chapters, the next six will give a chronological narrative of Palmyra from the late Hellenistic period through to Rome's destruction in 273 CE and itssurvival in the Byzantine and medieval Islamic periods. The book ends with a shorter conclusion chapter, which will summarize the most important findings and conclusions of the chapters of the book and will set out a number of lines of enquiry which could be taken up in research and culturalheritage management over the coming years. The result will be the best and most up-to-date account of Palmyra in English.
This edited collection explores the intersection of historical studies and the artistic representation of the past in the long nineteenth century. The case studies provide not just an account of the pursuit of history in art within Western Europe but also examples from beyond that sphere. These cover canonical and conventional examples of history painting as well as more inclusive, ‘popular’ and vernacular visual cultural phenomena. General themes explored include the problematics internal to the theory and practice of academic history painting and historical genre painting, including compositional devices and the authenticity of artefacts depicted; relationships of power and purpose in historical art; the use of historical art for alternative Liberal and authoritarian ideals; the international cross-fertilisation of ideas about historical art; and exploration of the diverse influences of socioeconomic and geopolitical factors. This book will be of particular interest to scholars of the histories of nineteenth-century art and culture.
Modern Art in Cold War Beirut: Drawing Alliances examines the entangled histories of modern art and international politics during the decades of the 1950s and 1960s. Positing the Cold War as a globalized conflict, fraught with different political ideologies and intercultural exchanges, this study asks how these historical circumstances shaped local debates in Beirut over artistic pedagogy, the social role of the artist, the aesthetics of form, and, ultimately, the development of a national art. Drawing on a range of archival material and taking an interdisciplinary approach, Sarah Rogers argues that the genealogies of modern art can never be understood as isolated, national histories, but rather that they participate in an ever contingent global modernism. This book will be of particular interest to scholars in art history, Cold War studies, and Middle East studies.
Monument Culture: International Perspectives on the Future of Monuments in a Changing World brings together a collection of essays from scholars and cultural critics working on the meanings of monuments and memorials in the second decade of the twenty-first century, a time of great social and political change. The book presents a broad view of the challenges facing individuals and society in making sense of public monuments with contested meanings. From the United States to Europe to Africa to Australia and New Zealand to South America and beyond, the contributors tackle the ways in which different places approach monuments in a landscape where institutions and ideas are under direct challenge from political and social unrest. It also discusses sharply changed attitudes about the representation of history and memory in the public sphere. The goal is to acknowledge shared experiences through a wider perspective; to contribute to the work of the world-wide heritage community; and to document the history and shifting cultural attitudes towards monument culture across the world, encouraging a more informed approach to monuments and their meanings especially for the public and those outside of academia.
Artists have long been stimulated and motivated by the work of those who came before them—sometimes, centuries before them. Interviews with 120 international contemporary artists discussing works from The Metropolitan Museum of Art's collection that spark their imagination shed new light on art-making, museums, and the creative process. Images of works from The Met collection appear alongside images of the contemporary artists' work, allowing readers to discover a rich web of visual connections that spans cultures and millennia.
Ancient Rome as a Museum considers how cultural objects from the Roman Empire came to reflect, construct, and challenge Roman perceptions of power and identity. Rutledge argues that Roman cultural values are indicated in part by what sort of materials Romans deemed worthy of display and how they chose to display, view, and preserve them.
