Public Art in South Africa

Bronze Warriors and Plastic Presidents

Nonfiction, Art & Architecture, Art History, African, General Art
Cover of the book Public Art in South Africa by , Indiana University Press
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Author: ISBN: 9780253030108
Publisher: Indiana University Press Publication: September 20, 2017
Imprint: Indiana University Press Language: English
Author:
ISBN: 9780253030108
Publisher: Indiana University Press
Publication: September 20, 2017
Imprint: Indiana University Press
Language: English

How does South Africa deal with public art from its years of colonialism and apartheid? How do new monuments address fraught histories and commemorate heroes of the struggle? Across South Africa, statues commemorating figures such as Cecil Rhodes have provoked heated protests, while new works commemorating icons of the liberation struggle have also sometimes proved contentious. In this lively volume, Kim Miller, Brenda Schmahmann, and an international group of contributors examine statues and memorials as well as performance, billboards, and other temporal modes of communication, considering the implications of not only the exposure but also erasure of events and icons from the public domain. Revealing how public visual expressions articulate histories and memories, they explore how such works may serve as a forum in which tensions surrounding race, gender, identity, or nationhood play out.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

How does South Africa deal with public art from its years of colonialism and apartheid? How do new monuments address fraught histories and commemorate heroes of the struggle? Across South Africa, statues commemorating figures such as Cecil Rhodes have provoked heated protests, while new works commemorating icons of the liberation struggle have also sometimes proved contentious. In this lively volume, Kim Miller, Brenda Schmahmann, and an international group of contributors examine statues and memorials as well as performance, billboards, and other temporal modes of communication, considering the implications of not only the exposure but also erasure of events and icons from the public domain. Revealing how public visual expressions articulate histories and memories, they explore how such works may serve as a forum in which tensions surrounding race, gender, identity, or nationhood play out.

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