In a provocative and thought-provoking installation, "Monuments" at MOCA Geffen and The Brick challenges the very notion of what these monuments represent. By recontextualizing 18 decommissioned Confederate monuments, the show probes the line between history and propaganda, forcing viewers to confront the darker side of America's past.
The exhibition's curator, Hamza Walker, emphasizes that these objects are not history, but rather "myth" created to valorize a Lost Cause ideology. The monuments themselves are now nothing more than power structures, devoid of their original purpose or meaning. By showcasing them in a gallery setting, often with contrasting artworks and installations, the show highlights the problematic nature of these symbols.
Throughout the exhibition, various artists, including Bethany Collins, Abigail DeVille, and Kara Walker, have contributed works that challenge the monuments' presence and significance. For instance, Jon Henry's "Stranger Fruit" series poses Black mothers with their fallen sons in Pietà-like compositions, giving voice to those who have been silenced or erased by racism.
Meanwhile, artists like Hank Willis Thomas and Laura Gardin Fraser have reimagined the monuments themselves, using bronze ingots that were once Robert E. Lee and Stonewall Jackson's figures. These works serve as a powerful counterbalance to the original monuments, highlighting the act of separation between myth and reality.
Kara Walker's "Unmanned Drone," featuring a deconstructed Confederate monument with elements of horse and rider merged into a single figure, exemplifies this concept. The work is both a critique of the Lost Cause ideology and an acknowledgment of its continued presence in American society.
The exhibition also touches on the current state of racism in America, citing the Trump administration's appointments and attacks on DEI initiatives as evidence of a growing racial divide. Hamza Walker notes that "the dismantling of things that I thought were sacrosanct" is a sign of the ebb and flow of social justice movements.
Ultimately, "Monuments" serves as a call to action, urging viewers to reevaluate their understanding of history and propaganda. By presenting these decommissioned monuments in a new light, the show prompts us to consider the power structures that have been built around them and the ways in which they continue to shape our society today.
The exhibition's curator, Hamza Walker, emphasizes that these objects are not history, but rather "myth" created to valorize a Lost Cause ideology. The monuments themselves are now nothing more than power structures, devoid of their original purpose or meaning. By showcasing them in a gallery setting, often with contrasting artworks and installations, the show highlights the problematic nature of these symbols.
Throughout the exhibition, various artists, including Bethany Collins, Abigail DeVille, and Kara Walker, have contributed works that challenge the monuments' presence and significance. For instance, Jon Henry's "Stranger Fruit" series poses Black mothers with their fallen sons in Pietà-like compositions, giving voice to those who have been silenced or erased by racism.
Meanwhile, artists like Hank Willis Thomas and Laura Gardin Fraser have reimagined the monuments themselves, using bronze ingots that were once Robert E. Lee and Stonewall Jackson's figures. These works serve as a powerful counterbalance to the original monuments, highlighting the act of separation between myth and reality.
Kara Walker's "Unmanned Drone," featuring a deconstructed Confederate monument with elements of horse and rider merged into a single figure, exemplifies this concept. The work is both a critique of the Lost Cause ideology and an acknowledgment of its continued presence in American society.
The exhibition also touches on the current state of racism in America, citing the Trump administration's appointments and attacks on DEI initiatives as evidence of a growing racial divide. Hamza Walker notes that "the dismantling of things that I thought were sacrosanct" is a sign of the ebb and flow of social justice movements.
Ultimately, "Monuments" serves as a call to action, urging viewers to reevaluate their understanding of history and propaganda. By presenting these decommissioned monuments in a new light, the show prompts us to consider the power structures that have been built around them and the ways in which they continue to shape our society today.
i felt so uncomfortable when i saw jon henry's "stranger fruit" series, like who are these black mothers and why aren't we hearing their stories more often?! 
anyway, the art pieces themselves were stunning, especially kara walker's "unmanned drone" it's like she took apart all the racist symbols and reassembled them into something new and powerful 
i think this exhibit is a huge reminder that history is not set in stone, we can change our narrative and create a more just society 
I mean, who needs actual monuments when you can just put old statues in a gallery and call it a day? It's not like the original context of these things is lost forever or anything... 
Those artists are super creative with bronze ingots though, kudos to them for repurposing those relics. It's kinda weird how "Monuments" makes me question everything I thought I knew about history, but hey, at least it's sparking some conversations? 
i mean, i guess it's cool that artists are trying to make a point with their work, but sometimes you feel like they're just rehashing the same old stuff 
. and don't even get me started on the "power structures" thing - what does that even mean? just sounds like someone's trying to sound smart 
. anyway, if you're into that sorta thing, i guess moca geffen and the brick is the place to be 
...
. What's next, putting a shrine for Columbus up there? The whole point is to spark discussion, but honestly, can't they just leave the past in the past? I'm all for acknowledging racism, but this feels like a PR stunt 
. Those artists trying to "dissect" the monuments are more like propagandists than anything else 
. And don't even get me started on the bronze ingots – what's the point of reimagining these symbols? Just gonna give them a new lease on life 
. I mean, you see these monuments just sitting there in a gallery, it's like they're trying to tell us something, but what is that something? Is it even still relevant?
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. It's like a wake-up call, but in the best possible way 
.