New Book | Against Sex
From UNC Press:
Kara French, Against Sex: Identities of Sexual Restraint in Early America (Chapel Hill: The University of North Carolina Press, 2021), 232 pages, ISBN: 978-1469662138 (hardcover), $95 / ISBN: 978-1469662145 (paperback), $30 / ISBN: 978-1469662152 (ebook), $25.
How much sex should a person have? With whom? What do we make of people who choose not to have sex at all? As present as these questions are today, they were subjects of intense debate in the early American republic. In this richly textured history, Kara French investigates ideas about, and practices of, sexual restraint to better understand the sexual dimensions of American identity in the antebellum United States. French considers three groups of Americans—Shakers, Catholic priests and nuns, and followers of sexual reformer Sylvester Graham—whose sexual abstinence provoked almost as much social, moral, and political concern as the idea of sexual excess. Examining private diaries and letters, visual culture and material artifacts, and a range of published works, French reveals how people practicing sexual restraint became objects of fascination, ridicule, and even violence in nineteenth-century American culture.
Against Sex makes clear that in assessing the history of sexuality, an expansive view of sexual practice that includes abstinence and restraint can shed important new light on histories of society, culture, and politics.
Kara M. French is associate professor of history at Salisbury University.
C O N T E N T S
Acknowledgments
Introduction
1 Vinegar-Faced Sisters and Male Monsters: The Gender of Sexual Restraint
2 Identities of Sexual Restraing
3 Breaking and Remaking the Family
4 Alternative Extracts: Sexual Retraint in the Antebellum Marketplace
5 Performing Sexual Restraint
Conclusion
Notes
Bibliography
Index
Exhibition | Feminine Power: The Divine to the Demonic
Closing this month at The British Museum:
Feminine Power: The Divine to the Demonic
The British Museum, London, 19 May — 25 September 2022
Curated by Belinda Crerar and Lucy Dahlsen
The first exhibition of its kind, Feminine Power takes a cross-cultural look at the profound influence of female spiritual beings within global religion and faith. Explore the significant role that goddesses, demons, witches, spirits and saints have played—and continue to play—in shaping our understanding of the world.
How do different traditions view femininity? How has female authority been perceived in ancient cultures? For insights, the exhibition looks to divine and demonic figures feared and revered for over 5,000 years. From wisdom, passion and desire, to war, justice and mercy, the diverse expression of female spiritual powers around the world prompts us to reflect on how we perceive femininity and gender identity today.
Worship of Pele, the Hawaiian goddess of volcanoes, reveals how her destructive capacity is venerated alongside her ability to create. The Buddhist bodhisattva of compassion, who transcends gender and is visualised in male form in Tibet and female in China and Japan, uncovers the importance of gender fluidity in some spiritual traditions. And the terrifying Hindu goddess Kali, depicted in art carrying a severed head and bloodied sword, is honoured as the Great Mother and liberator from fear and ignorance.
Porcelain Figure of Guanyin, China, 18th century, 41 cm high (London: The British Museum, 1980,0728.93).
Enhanced by engagement with contemporary worshippers, faith communities and insights from high-profile collaborators Bonnie Greer, Mary Beard, Elizabeth Day, Rabia Siddique, and Deborah Frances-White, the exhibition considers the influence of female spiritual power and what femininity means today.
Bringing together sculptures, sacred objects and artworks from the ancient world to today, and from six continents, the exhibition highlights the many faces of feminine power—ferocious, beautiful, creative or hell-bent—and its seismic influence throughout time.
Belinda Crerar, Feminine Power: The Divine to the Demonic (London: The British Museum, 2022), 272 pages, ISBN: 978-0714151304, £30 / $45.
C O N T E N T S
Introduction
1 Forces of Nature
2 Passion and Desire
3 Evil
4 Justice and Defence
5 Compassion and Salvation
Conclusion
Notes and Bibliography
Acknowledgements and Credits
Exhibition | Fuseli and the Modern Woman
Henry Fuseli, Sophia Fuseli, Her Hair in Large Rolls, with Pink Gloves, in Front of a Brown Curtain, detail, 1790
(Kunsthaus Zürich, Collection of Prints and Drawings)
◊ ◊ ◊ ◊ ◊
From The Courtauld:
Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism
The Courtauld Gallery, London, 14 October 2022 — 8 January 2023
Kunsthaus Zürich, 24 February – 21 May 2023
One of the most original and eccentric artists of the 18th century, Henry Fuseli (1741–1825) will be the subject of a new exhibition at The Courtauld, opening 14 October 2022.
Henry Fuseli, Half-length Figure of a Courtesan with Feathered Head-dress, ca. 1800–10 (Kunsthaus Zürich, Collection of Prints and Drawings).
Born in Zurich, Switzerland, Fuseli spent a formative period in Rome in the 1770s before settling in London, where he was elected Professor of Painting at The Royal Academy and served for 21 years as Keeper of the RA Schools, working and living at Somerset House in what is now The Courtauld Gallery.
While Fuseli was famous in his lifetime for stylised paintings depicting fantastic and supernatural scenes drawn from his imagination and literature, The Courtauld’s exhibition explores an altogether different dimension to his art. Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism will reveal the artist’s secret lifelong obsession with the female figure through fifty of his strange and striking private drawings, many of which depict the spectacularly extravagant hairdos and fashions of the day. The exhibition will explore Fuseli’s fascination with female sexuality and the modern woman—as a figure of mystery, transgression, and dangerous allure—and provides an insight into late 18th- and early 19th-century anxieties about gender, identity, and sexuality during a transformative period in European history.
Organised in collaboration with the Kunsthaus Zürich, the exhibition will showcase drawings brought together from international collections. Following its presentation at The Courtauld, the exhibition will travel to Zürich, the city where Fuseli was born.
The catalogue is published by PHP and distributed by The University of Chicago Press:
David Solkin, ed., with contributions by Jonas Beyer, Mechthild Fend, and Ketty Gottardo, Fuseli and the Modern Woman: Fashion, Fantasy, Fetishism (London: Paul Holberton Publishing, 2022), 168 pages, ISBN: 978-1913645298, £30 / $40.
Best known for his notoriously provocative painting The Nightmare, Fuseli energetically cultivated a reputation for eccentricity, with vividly stylised images of supernatural creatures, muscle-bound heroes, and damsels in distress. While these convinced some viewers of the greatness of his genius, others dismissed him as a charlatan, or as completely mad.
Fuseli’s contemporaries might have thought him even crazier had they been aware that in private he harboured an obsessive preoccupation with the figure of the modern woman, which he pursued almost exclusively in his drawings. Where one might have expected idealised bodies with the grace and proportions of classical statues, here instead we encounter figures whose anatomies have been shaped by stiff bodices, waistbands, puffed sleeves, and pointed shoes, and whose heads are crowned by coiffures of the most bizarre and complicated sort. Often based on the artist’s wife Sophia Rawlins, the women who populate Fuseli’s graphic work tend to adopt brazenly aggressive attitudes, either fixing their gaze directly on the viewer or ignoring our presence altogether. Usually they appear on their own, in isolation on the page; sometimes they are grouped together to form disturbing narratives, erotic fantasies that may be mysterious, vaguely menacing, or overtly transgressive, but where women always play a dominant role. Among the many intriguing questions raised by these works is the extent to which his wife Sophia was actively involved in fashioning her appearance for her own pleasure, as well as for the benefit of her husband.
By bringing together more than fifty of these studies (roughly a third of the known total), The Courtauld Gallery will give audiences an unprecedented opportunity to see one of the finest Romantic-period draughtsmen at his most innovative and exciting. Visitors to the show and readers of the lavishly illustrated catalogue will further be invited to consider how Fuseli’s drawings of women, as products of the turbulent aftermath of the American and French Revolutions, speak to concerns about gender and sexuality that have never been more relevant than they are today.
The exhibition showcases drawings brought together from international collections, including the Kunsthaus Zürich, in Zurich, the Auckland Art Gallery in New Zealand, and from other European and North American institutions.
David Solkin is Emeritus Professor at The Courtauld Institute of Art, London.
Jonas Beyer is Curator of Drawings at the Kunsthaus Zürich, Zurich.
Mechthild Fend is Professor of Art History at the Goethe University, Frankfurt am Main.
Ketty Gottardo is Martin Halusa Curator of Drawings at The Courtauld Gallery, London.
New Book | General William Roy (1726–1790)
From Edinburgh UP:
Humphrey Welfare, General William Roy (1726–1790): Father of the Ordnance Survey (Edinburgh: Edinburgh University Press, 2022), 310 pages, ISBN: 978-1399505789, $120.
The first biography of William Roy, exploring his life, career, and legacy
• Considers the influences on William Roy and his work by examining the people in his circle, including some of the most famous scientists and explorers of the day
• Reviews the importance of the Military Survey of Scotland to the history of cartography
• Considers the significance of Roy’s experiments in measuring heights by barometric pressure
• Re-assesses—for the first time since 1917—his important contribution to British archaeology
Born in Clydesdale, William Roy was a polymath and a visionary. His work established the path that would lead to the formation of the Ordnance Survey and to all of the paper-based and digital mapping products that we use today. His story—very much one of the Enlightenment—demonstrates how one man’s curiosity and diligence enabled him to excel across a diverse range of topics: military reconnaissance and intelligence; the lessons that could be learned from the past about the tactical use of landscape; the science of determining the height of mountains; and the development of a meticulous methodology to achieve an unprecedented accuracy in topographical measurement. In this biography, Humphrey Welfare uncovers the career and activities of this important figure, and in doing so paints a vivid picture of the inner complexities of 18th-century Britain.
Humphrey Welfare is Visiting Fellow in the School of History, Classics, and Archaeology at the University of Newcastle. Formerly he was Director of the Architectural and Archaeological Survey at the Royal Commission, and, after merger with English Heritage, the Director of Research Projects. His last post before retirement in 2011 was as English Heritage Planning and Development Director for the North. Humphrey has published over forty papers in peer-reviewed journals on the archaeology and history of southern Scotland and northern England, as well as three books, including Roman Camps in England: The Field Archaeology (with V. Swan, HMSO, 1995). He is a former editor of the Proceedings of the Society of Antiquaries of Scotland.
C O N T E N T S
Prologue: A Dinner Party for Captain Cook
Acknowledgements
Introduction
1 Foundations
2 The Map-maker: Developing the Soldier’s Eye
3 The Military Engineer: Reconnaissance, Resources, and Fortifications
4 The Antiquary in the Field: Empathy with the Army of Rome
5 The Practical and Sociable Scientist: Hypsometry and the Royal Society
6 The Geodesist: Large Triangles and Miniscule Adjustments
7 Aftermath and Legacy: The Birth of the Ordnance Survey
Appendix 1 Chronology
Appendix 2 General Roy’s Instructions on Reconnoitring
Appendix 3 Glossary
Abbreviations
Bibliographical References
Index
New Book | The Marlborough Mound
From Boydell & Brewer:
Richard Barber, ed., The Marlborough Mound: Prehistoric Mound, Medieval Castle, Georgian Garden (London: Boydell Press, 2022), 224 pages, ISBN: 978-1783271863 (hardcover), £45 / $65 | ISBN: 978-1787446748 (ebook), £20 / $25.
The Marlborough Mound has recently been recognised as one of the most important monuments in the group around Stonehenge. It was also a medieval castle and a feature in a major Georgian garden. This is the first comprehensive history of this extraordinary site.
Marlborough Mound, standing among the buildings of Marlborough College, has attracted little attention until recently. Records showed it to be the motte of a Norman castle, of which there were no visible remains. The local historians and archaeologists who investigated it found very little in the way of archaeological evidence beyond a few prehistoric antler picks, the odd Roman coin, and a scatter of medieval pottery. The most dramatic discovery came after the Mound Trust began to restore the mound in 2003. English Heritage was investigating Silbury Hill and arranged to take cores from the Mound for dating purposes. The results were remarkable, as they showed that the Mound was almost a twin of Silbury Hill and therefore belonged to the extraordinary assembly of prehistoric monuments centred on Stonehenge.
For the medieval period, this book brings together for the first time all that we know about the castle from the royal records and from chronicles. These show that it was for a time one of the major royal castles in the land. Most of the English kings from William I to Edward III spent time here. For Henry III and his queen Eleanor of Provence, it was their favourite castle after Windsor.
As to its final form as a garden mound next to the house of the dukes of Somerset, in the eighteenth century, this emerges from letters and even poems, and from the recent restoration. Much of this has been slow and painstaking work, however, involving the removal of the trees which endangered the structure of the Mound, the recutting of the spiral path and the careful replanting of the whole area with suitable vegetation. By doing this, the shape of the Mound as a garden feature has re-emerged, and can now be seen clearly.
This book marks the end of the first stage of the work of the Mound Trust, which, following the restoration, turns to its second objective of promoting public knowledge of the Mound based on scholarly research.
Richard Barber has had a huge influence on the study of medieval history and literature, as both a writer and a publisher. His first book on the Arthurian legend appeared in 1961, and his major works include The Knight and Chivalry (winner of the Somerset Maugham Award in 1971), Edward Prince of Wales and Aquitaine, The Penguin Guide to Medieval Europe, and The Holy Grail: the History of a Legend, which was widely praised and was translated into six languages.
C O N T E N T S
Preface — Barry Cunliffe
1 ‘One Remarkable Earthen-work’: The Neolithic Origins of the Marlborough Mound — Jim Leary and Joshua Pollard
2 Castles and the Landscape of Norman Wessex, c. 1066–1154 — Oliver Creighton
3 Marlborough Castle in the Middle Ages — Richard Barber
4 The Mound as a Garden Feature — Brian Dix
5 Epilogue: The Marlborough Mound Trust
Afterword: The Round Mound Project — Jim Leary, Elaine Jamieson, and Phil Stastney
Appendices
A Inquisition into the State of Marlborough Castle, 11 September 1327
B Castellum Merlebergae, by H.C. Brentnall, FSA
C Constables of Marlborough Castle
D Marlborough Castle: Archaeological Findings for the Medieval Period
Bibliography
Index
Shortlists Announced for Hitchcock Medallion and Colvin Prize
From The Society of Architectural Historians of Great Britain (SAHGB) . . . with shout-out to HECAA member Basile Baudez!
The shortlists for two of the most important prizes in architectural history—the Alice Davis Hitchcock Medallion and the Colvin Prize—were announced this week. The Alice Davis Hitchcock Medallion is awarded to a monograph that makes an outstanding contribution to the study of architectural history—previous winners include Howard Colvin, Dorothy Stroud, John Summerson, Nikolaus Pevsner, Hermione Hobhouse, and Jill Lever. The Colvin Prize, established in 2017, is awarded to an outstanding work of reference of value to the discipline irrespective of format.
The two shortlists for the awards this year demonstrate a broad range of subjects and approaches to architectural history, ranging from a global atlas of queer spaces, forensic analysis of the urban and architectural fabric of Whitechapel, a fulsome biographical dictionary of early-modern architects in Britain, through to a compendious photographic recording of all the 437 Carnegie libraries that still remain in the UK, and much more.
The winners will be selected in the autumn and announced at the Society’s Annual Lecture and Awards Ceremony in December 2022.
The awards are overseen by the SAHGB to reward work that is innovative, ambitious, and rigorous in tackling histories of the built environment as broadly conceived. The SAHGB’s awards programme, which also includes the ‘Hawksmoor’ Essay Medal, Heritage Research Award, and Dissertation Prize, is open and inclusive wherever possible, celebrating diversity of approach and recognising work at all career levels.
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Alice Davis Hitchcock Medallion Shortlist
• Basile Baudez, Inessential Colors: Architecture on Paper in Early Modern Europe (Princeton University Press)
• Manolo Guerci, London’s ‘Golden Mile’: The Great Houses of the Strand, 1550–1650 (Paul Mellon Centre for Studies in British Art)
• Jasmine Kilburn-Toppin, Crafting Identities: Artisan Culture in London, c. 1550–1640 (Manchester University Press)
• Nathaniel Walker, Victorian Visions of Suburban Utopia: Abandoning Babylon (Oxford University Press)
Colvin Prize Shortlist
• Adam Nathaniel Furman + Joshua Mardell, eds., Queer Spaces: An Atlas of LGBTQIA+ Places and Stories (RIBA Publishing)
• Mark Girouard, A Biographical Dictionary of English Architecture, 1540–1640 (Paul Mellon Centre for Studies in British Art)
• Oriel Prizeman, The Carnegie Libraries of Britain: A Photographic Chronicle (Arts and Humanities Research Council)
• Peter Guillery, ed., Survey of London, Whitechapel: Vols 54 + 55 (Paul Mellon Centre for Studies in British Art/Yale University Press)
New Book | Stourhead: Henry Hoare’s Paradise Revisited
Published by Head of Zeus and distributed by IPG:
Dudley Dodd with an introduction by James Stourton and photographs by Marianne Majerus, Stourhead: Henry Hoare’s Paradise Revisited (London: Apollo, 2021), 320 pages, ISBN: 978-1788543620, £40 / $65.
An illustrated history of the landscape garden at Stourhead, created by generations of the Hoare banking dynasty.
Cross the south lawn at Stourhead and enter the leafy embrace of the Shades. Descend through the ancient and rare trees, and as the ground falls away a great lake appears. It is punctuated with classical temples, and a great arched bridge lunges to the other side of the water. Continue on and you will find a mystical, jagged grotto; a gothic hideaway; gods, muses and saints. This is how Henry Hoare—known as Henry the Magnificent—would have approached the garden he designed with Henry Flitcroft. It truly is an English arcadia. Perhaps he imagined himself as a journeying Aeneas, or wished to recreate a Claude Lorrain landscape? This is the history of a unique landscape, created in a misty Wiltshire valley by generations of the Hoare banking family. It follows its evolution, describing how flights of folly, individual flair and tastes, combined with careful stewardship, have formed a national treasure and one of the finest examples of the English landscape garden.
Dudley Dodd had a long career with the National Trust, where he was Secretary of the Arts Panel, and has published widely on Stourhead, whose first modern guidebook he wrote in 1981, as well as guidebooks to several other National Trust houses. He is co-author of Roman Splendour, English Arcadia: The Pope’s Cabinet at Stourhead.
New Book | Ceremonial Splendor
From U of Penn Press:
Joy Palacios, Ceremonial Splendor: Performing Priesthood in Early Modern France (Philadelphia: University of Pennsylvania Press, 2022), 288 pages, ISBN: 978-1512822786, $55.
By the end of France’s long seventeenth century, the seminary-trained, reform-minded Catholic priest had crystalized into a type recognizable by his clothing, gestures, and ceremonial skill. Although critics denounced these priests as hypocrites or models for Molière’s Tartuffe, seminaries associated the features of this priestly identity with the idea of the vray ecclésiastique, or true churchman.
Ceremonial Splendor examines the way France’s early seminaries promoted the emergence and construction of the true churchman as a mode of embodiment and ecclesiastical ideal between approximately 1630 and 1730. Based on an analysis of sources that regulated priestly training in France, such as seminary rules and manuals, liturgical handbooks, ecclesiastical pamphlets and conferences, and episcopal edicts, the book uses theories of performance to reconstruct the way clergymen learned to conduct liturgical ceremonies, abide by clerical norms, and aspire to perfection.
Joy Palacios shows how the process of crafting a priestly identity involved a wide range of performances, including improvisation, role-playing, and the display of skills. In isolation, any one of these performance obligations, if executed in a way that drew attention to the self, could undermine a clergyman’s priestly persona and threaten the institution of the priesthood more broadly. Seminaries counteracted the ever-present threat of theatricality by ceremonializing the clergyman’s daily life, rendering his body and gestures contiguous with the mass. Through its focus on priestly identity, Ceremonial Splendor reconsiders the relationship between Church and theater in early modern France and uncovers ritual strategies that continue to shape religious authority today.
Joy Palacios is an Assistant Professor of Religious Studies in the Department of Classics and Religion at the University of Calgary.
New Book | Against the Map
From UVA Press:
Adam Sills, Against the Map: The Politics of Geography in Eighteenth-Century Britain (Charlottesville: University of Virginia Press, 2021), 318 pages, ISBN: 978-0813945989 (hardback), $115 / ISBN: 978-0813946009 (ebook), $35 / ISBN: 978-0813945996 (paperback), $45.
Over the course of the seventeenth and eighteenth centuries, the increasing accuracy and legibility of cartographic projections, the proliferation of empirically based chorographies, and the popular vogue for travel narratives served to order, package, and commodify space in a manner that was critical to the formation of a unified Britain. In tandem with such developments, however, a trenchant anti-cartographic skepticism also emerged. This critique of the map can be seen in many literary works of the period that satirize the efficacy and value of maps and highlight their ideological purposes. Against the Map argues that our understanding of the production of national space during this time must also account for these sites of resistance and opposition to hegemonic forms of geographical representation, such as the map.
This study utilizes the methodologies of critical geography, as well as literary criticism and theory, to detail the conflicted and often adversarial relationship between cartographic and literary representations of the nation and its geography. While examining atlases, almanacs, itineraries, and other materials, Adam Sills focuses particularly on the construction of heterotopias in the works of John Bunyan, Aphra Behn, Jonathan Swift, Daniel Defoe, Samuel Johnson, and Jane Austen. These ‘other’ spaces, such as neighborhood, home, and country, are not reducible to the map but have played an equally important role in the shaping of British national identity. Ultimately, Against the Map suggests that nation is forged not only in concert with the map but, just as important, against it.
Adam Sills is Associate Professor of English at Hofstra University.
New Book | Teachable Monuments
This week (11–12 August) marked the fifth anniversary of the white supremacist rally in Charlottesville. This collection of essays appeared in hardback in 2021; it’s due to be released in paperback this fall from Bloomsbury:
Sierra Rooney, Jennifer Wingate, and Harriet Senie, eds., Teachable Monuments: Using Public Art to Spark Dialogue and Confront Controversy (Bloomsbury Publishing, 2021), 296 pages, ISBN: 978-1501356940 (hardcover), $130 / ISBN: 979-8765100462 (paperback), $35.
Monuments around the world have become the focus of intense and sustained discussions, activism, vandalism, and removal. Since the convulsive events of 2015 and 2017, during which white supremacists committed violence in the shadow of Confederate symbols, and the 2020 nationwide protests against racism and police brutality, protesters and politicians in the United States have removed Confederate monuments, as well as monuments to historical figures like Christopher Columbus and Dr. J. Marion Sims, questioning their legitimacy as present-day heroes that their place in the public sphere reinforces. The essays included in this anthology offer guidelines and case studies tailored for students and teachers to demonstrate how monuments can be used to deepen civic and historical engagement and social dialogue. Essays analyze specific controversies throughout North America with various outcomes as well as examples of monuments that convey outdated or unwelcome value systems without prompting debate.
Sierra Rooney is Assistant Professor of Art History at University of Wisconsin-La Crosse. She is the author of numerous articles on public monuments and controversy.
Jennifer Wingate is Professor of Fine Arts at St. Francis College. She was co-editor of Public Art Dialogue (2017–2020) and is the author of Sculpting Doughboys: Memory Gender, and Taste in America’s Worlds War I Memorials (2013). She has published on representations of the domestic display of FDR portraits, WWI memorials, and public art.
Harriet F. Senie is Professor Emerita of Art History at the City College of New York and the Graduate Center, The City University of New York. She is the author of Memorials to Shattered Myths: Vietnam to 9/11 (2015), The ‘Tilted Arc’ Controversy: Dangerous Precedent? (2001), and Contemporary Public Sculpture: Tradition, Transformation, and Controversy (1992). She has edited several anthologies on different aspects of public art.
C O N T E N T S
List of Illustrations
List of Contributors
Acknowledgements
Introduction: Why Monuments Matter — Sierra Rooney (University of Wisconsin-La Crosse) and Jennifer Wingate (St. Francis College)
Part I: Teaching Strategies
1 Developing Essential Questions for a Student-Driven 4th Grade Monument Study — Adelaide Wainwright (Oregon Episcopal School)
2 Encouraging Intervention: Project-Based Learning with Problematic Public Monuments — Mya Dosch (California State University-Sacramento)
3 Mapping Art on Campus — Annie Dell’Aria (Miami University)
4 Moving Beyond ‘Pale and Male’: A Museum Educator Approach to the Campus Portrait Debate — Jennifer Reynolds-Kaye (Yale Center for British Art)
5 ‘From Commemoration to Education’: Re-setting Context and Interpretation for a Confederate Memorial Statue on a University Campus — Sarah Sonner (Briscoe Center for American History, University of Texas-Austin)
6 Making Material Histories: Institutional Memory and Polyvocal Interpretation — Kailani Polzak (University of California-Santa Cruz)
Part II: Political Strategies
7 Dismantling the Confederate Landscape: The Case for a New Context — Sarah Beetham (Pennsylvania Academy of the Fine Arts)
8 Learning from Louisville: John Breckenridge Castleman, His Statue, and a Public Sphere Revisited — Chris Reitz (University of Louisville)
9 Addressing Monumental Controversies in New York City Post Charlottesville — Harriet Senie (City University of New York)
10 The Preservation Dilemma: Confronting Two Controversial Monuments in the United States Capitol — Michele Cohen (Architect of the Capitol)
11 Up Against The Wall: Commemorating and Framing the Vietnam War on the National Mall — Jennifer K. Favorite (City University of New York)
12 ‘I feel like I have hated Lincoln for 110 years’: Debates over the Lincoln Statue in Richmond, Virginia — Evie Terrono (Randolph-Macon College)
Part III: Engagement Strategies
13 Paper Monuments as Public Pedagogy — Sue Mobley (Colloqate Design)
14 Charging Bull and Fearless Girl: A Dialogue — Charlene G. Garfinkle (Independent Scholar)
15 The Afterlife of E Pluribus Unum — Laura Holzman (Indiana University–Purdue University Indianapolis), Modupe Labode (National Museum of American History), and Elizabeth Kryder-Reid (Indiana University–Purdue University Indianapolis)
16 Unforeseen Controversy: Reconciliation and Re-contextualization of Wartime Atrocities through ‘Comfort Women’ Memorials in the United States — Jung-Sil Lee (George Washington University and Maryland Institute College of Art)
17 Free History Lessons: Contextualizing Confederate Monuments in North Carolina — Matthew Champagne (North Carolina State University), Katie Schinabeck (North Carolina State University), and Sarah A. M. Soleim (North Carolina State University)
18 Future History: New Monumentality in Old Public Spaces, An interview with Artist Kenseth Armstead — Maria F. Carrascal (Artipica Creative Spaces, Spain)
Index
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