Confederate monuments

Kehinde Wiley Sculpture Unveiled in NYC, Comes to VMFA in December

VCU CNS | September 30, 2019

Topics: Confederate monuments, Kehinde Wiley, Rumors Of War, Sean Kelly Gallery, Times Square, Virginia museum of fine arts, vmfa

The statue, entitled “Rumors Of War,” is African American artist Kehinde Wiley’s response to the Confederate monuments in Richmond and throughout the South.

Artist Kehinde Wiley’s monumental statue, “Rumors of War,” was unveiled in Times Square on Friday to an estimated 350 attendees. The statue is Wiley’s response to the Confederate sculptures scattered throughout the South, especially in Richmond, Virginia.

“This is his first attempt at a monumental sculpture, and I’d have to say he pretty much hit it out of the park,” Virginia Museum of Fine Arts Director Alex Nyerges said.

*The statue before its unveiling. (Photo by VCU CNS)*

The statue depicts a young African American man wearing street clothes atop a rearing horse. The body language of the subject is triumphant and confident. “Rumors of War” is closely modeled after the statue of Confederate general J.E.B. Stuart found in the center of Stuart Circle along Monument Avenue in Richmond.

According to Sean Kelly Gallery founder Sean Kelly, “Rumors of War” is 27 feet tall — one foot taller than the statue of Stuart. The New York-based art gallery represents Wiley and other established artists. It co-sponsored the unveiling along with the VMFA and the Times Square Alliance.

Wiley has become known for paintings depicting African American men and women shown in classical poses. His paintings are inspired by masters from the Renaissance and Rococo eras of art, but with a contemporary and political twist. In 2018 he unveiled the official portrait of President Barack Obama in the Smithsonian National Gallery, garnering worldwide attention.

Media and guests at the unveiling began gathering at 12:30 p.m. in one of the main medians of Times Square. The statue loomed large, draped in a silver cloth. People on their lunch break and other onlookers sat outside a fence surrounding the area, many stopping to ask what was going on.

A temporary security fence formed a roughly 500-square-foot border around the statue.

*Kehinde Wiley speaks about “Rumors Of War.” (Photo by VCU CNS)*

After comments from Nyerges, Kelly, and Richmond Mayor Levar Stoney, Wiley stepped up to the podium to deliver a short but passionate explanation behind the process of creating “Rumors of War.”

“Let’s get this party started,” Wiley declared, and the cloth was pulled back revealing the statue to the audience.

The base of the statue was crafted from Wisconsin limestone in Wiley’s New York studio, Kelly said. The bronze used to build the statue was cast in Wiley’s Beijing studio, then shipped in three separate pieces to New York and reassembled.

Wiley came up with the idea to create the statue during the 2016 showing of a retrospective of his work at the VMFA. Nyerges said Wiley approached the museum about collaborating on the project.

“When they approached us the question was, ‘Would you be interested in working with us on a project like this,’ and of course the answer was an instant ‘yes,’” Nyerges said. “Then when Kehinde and Sean came back to us with some visuals and a conceptual of what it looked like, we were blown away.”

The statue has been under construction for almost three years. Kelly said he feels overjoyed to have Wiley’s newest work completed and released.

“The beginning of the journey is absolutely terrifying if you think about what you’re getting yourself into,” Kelly said. “Unveiling it today is like giving birth; it’s super exciting and amazing. There’s nothing but euphoria and joy at this point.”

*“Rumors of War” in Times Square (Photo by VCU CNS)*

Stoney addressed how “Rumors of War” will fit into the ongoing conversation about the monuments on Monument Avenue. Five other statues honoring Confederates, and one statue in tribute to tennis legend Arthur Ashe, are erected along a 1.5-mile stretch of the city street. In recent years there has been considerable debate about whether to remove the monuments. The mayor established a commission to study and make recommendations on the removal or relocation of the monuments. The panel’s final report called for removal of the Jefferson Davis statue, and the addition of context to the others.

“Our friends who worked on the Monument Avenue Commission stated that addition has to be part of the recipe for us balancing the scales in Richmond, in terms of the monuments we currently have to the Lost Cause, [the narrative that the Confederacy was justified in its rebellion, minimizing the role slavery played in causing the Civil War], and balancing that with heroes and sheroes from African American culture,” Stoney said.

The statue will be on temporary public display until Dec. 1 and then moved to its permanent home at the VMFA in Richmond. The public can see the statue unveiled for a second time Dec. 10 on the museum’s front lawn along Arthur Ashe Boulevard.

Written by Morgan Edwards, Capital News Service. Top Photo: “Rumors Of War” in Times Square, via VCU CNS

Landrieu Urges Reflection On Monuments In Meeting With Stoney

Madelyne Ashworth | March 22, 2019

Topics: Confederate monuments, Jefferson Davis Monument, Mayor Levar Stoney, Mitch Landrieu, New Orleans, racial reconciliation, robert e lee, Virginia Museum Of History & Culture

In his meeting with Mayor Levar Stoney this week, former New Orleans Mayor Mitch Landrieu challenged Richmonders to consider the continued impact of Confederate monuments on our city’s image and reputation.

It was a meeting of the Mayoral minds on Tuesday, as Richmond’s Mayor Levar Stoney and New Orleans’ former mayor Mitch Landrieu engaged in thoughtful discussion at the Virginia Museum of History and Culture.

About 100 people listened as Mayor Stoney recounted Richmond’s struggle with Confederate iconography and race relations in Richmond, while Landrieu recalled his experience presiding over the removal of his city’s Confederate monuments.

“We created things with regard to race, and we can’t fix things without regard to race,” Landrieu said. “Our public spaces speak to who you are. It’s intended to say something, especially monuments and statues.”

At the crux of this discussion, Landrieu asked of Richmond: What do we want to be known for?

Overhead view of New Orleans’ Battle Of Liberty Place Monument in 2006. The monument was erected in 1891 to commemorate an 1874 riot against New Orleans’ Reconstruction-era government by the White League, a white supremacist group. It was taken down by Landrieu’s administration in 2017. Photo by Infrogmation, CC BY 2.5, via Wikimedia

In 2015, Landrieu called for the removal from prominent public display of four monuments in New Orleans, three of Confederate generals and one memorializing a violent coup of the state government by the Crescent City White League. All the monuments in question were removed by May 2017, although not without two years of legal battles, public criticism, and even threats against Landrieu’s life. His opponents criticized him for a lack of transparency during the process.

In a discussion moderated by Julian Hayter, an associate professor of Leadership Studies at the University of Richmond and member of Stoney’s Monument Avenue Commission, Stoney and Landrieu discussed racism in the South, and how to reconcile its history with its people.

“We can’t ignore the fact that we’ve had an ugly history,” Stoney said.

Last year, Stoney’s Monument Avenue Commission recommended removing the Jefferson Davis monument, while adding context to the other four Confederate statues.

*Jefferson Davis monument on Monument Avenue. Public Domain, via Wikimedia*

Landrieu’s charismatic, animated oration offered blunt, third-party observations about Richmond’s race relations and Confederate iconography. Ultimately, he posited Richmond must find a solution that is right for Richmond, regardless of any other city’s actions.

“There is a difference between remembrance and reverence,” Landrieu said. “Remembrance is what you always want to do, so you don’t let it happen again. Reverence is honoring something, so you might be able to do it again.”

Stoney stated that if it were in his legal power to remove them, the statues would be gone. He also said that while removing the statues were important to many Richmonders, his real concern was providing reparations to deprived communities negatively affected by past racial injustices.

In this context, reparations are not about putting cash directly in the hands of disenfranchised people; they are about funding schools that never get funded, putting money in parks and community spaces, and reforming previously exclusive places into safe, inclusive space. They are about allowing a city’s architecture, aesthetic, art, and monuments to reflect the citizens it houses.

“Does that man standing on top of that thing send a message that you are welcome here, and that we want you to be here?” Landrieu said. “I was the mayor of a majority African American city, and I was the mayor of a city that has a monument that doesn’t represent our city. We decided in our specific circumstance, it was the best thing to do. What you cannot do is forget who put it up and why they put it up.”

Landrieu urged Richmonders to consider that a single plaque is not contextualization. To provide an adequate frame of reference would require the statue of a “lynched man” to reside next to Jackson and Lee.

*Hayter, Stoney, and Landrieu. Photo by John Donegan*

It may be prudent to point out that by erecting those statues, we are actually disobeying the wishes of a dead man, one who is at the epicenter of this entire debate: Robert E. Lee.

“I think it wiser,” the retired Lee once wrote of a proposed Gettysburg memorial in 1869, “not to keep open the sores of war but to follow the examples of those nations who endeavored to obliterate the marks of civil strife, to commit to oblivion the feelings engendered.”

After the Civil War, Lee swore allegiance to the Union, publicly denounced any sentiment toward Southern separatism, affirmed the need to move on, and believed that by keeping those images alive, so would the sentiments of division live on and thrive.

Mayor Landrieu asserted similar sentiments in asking us to question that reverence associated with Confederate iconography. We have an entire avenue on which we all but worship the leaders of a failed nation, then act as if this is a presentation of historical events rather than a deep respect and longing for that failed nation.

“People are watching y’all,” Landrieu said. “I want to ask, do y’all want to be known for that?”

America has a history of building grandiose, reverent monuments to what Lee described as “civil strife,” and compared to those left by other countries throughout the 20th century after their own national conflicts, it calls us to examine how Americans display memorials to bloodshed.

*The American cemetery at Normandy. Photo by* *Leon Petrosyan*, *CC BY-SA 4.0, via* *Wikimedia*

Our memorial to the lives lost in the 9/11 attacks has turned into a multibillion dollar shopping mall, the Westfield World Trade Center. The American cemetery in Normandy, France, honoring those soldiers lost to WWII, boasts a $30 million welcome center, a chapel, and a 22-foot statue. Compared to the somber, understated French, German, and Canadian cemeteries in the same area, America’s message is clear: We are dominant, we are proud, we are strong, we are to be seen.

And while direct, this isn’t entirely inappropriate. Our culture differs from European countries in that we are opportunistic, and have a free-market capitalist economy. We honor our tragedies, but we simultaneously find a way to make money from them. We are clever, competitive, and fierce. Albeit occasionally sporting a tone-deaf quality, it is true to our nature. For better or worse, it is what we are known for. And, ultimately, even the aforementioned monuments honor soldiers and innocent lives lost to tragedy and terror, rather than the lost cause for continued human oppression that the figures on Monument Avenue commemorate.

And so, Mayor Landrieu’s challenge to Richmond resonates. In the wake of his visit, we must ask ourselves the same question he asked of us: What do you want to be known for? And how will you display it?

Top photo by John Donegan

Students at UNC Topple Confederate Statue

Landon Shroder | August 21, 2018

Topics: Chancellor, chapel hill, Confederate monuments, Governor Roy Cooper, Student Protestors, UNC

Students at the University of North Carolina in Chapel Hill toppled the Confederate monument known as “Silent Sam” on Monday night. According to WRAL, nearly 200 student protestors assembled at the Peace and Justice Plaza at around 7 p.m. to call for removal of the statue. A short time later they marched to the statue, and by 9:30 p.m. it lay on the ground, toppled, while the crowd of students erupted in a raucous applause.

Silent Sam, Toppled. Photo by Samee Siddiqui

The university’s administration, however, was not amused. UNC Chancellor Carol Folt released a statement at 1:48 a.m. acknowledging that the Confederate monument was “divisive” and a “source of frustration” for many years, but calling the protesters’ actions “unlawful and dangerous.”

“Silent Sam” has stood on the campus since it was erected in 1913, and has been a flashpoint for students and faculty for many years. The official Department of History webpage even published a statement asking the university to remove the statue, saying, “The faculty of the Department of History urges the officers of UNC and other state officials to pursue every avenue to remove the ‘Silent Sam’ monument…[the creators] shared a veneration of slavery, the “Old South,” the Confederacy, and the ideology of white supremacy.”

Monday’s protest began as a march for solidarity with Maya Little, a graduate student who was arrested this past spring after defacing the statue. In addition to criminal charges, Little also faces an honor court that could lead to her being expelled from the university.

Governor Roy Cooper also issued a statement on Monday on Facebook saying, “The Governor understands that many people are frustrated by the pace of change and he shares their frustration, but violent destruction of public property has no place in our communities.”

Sources at the rally claimed the student protestors flanked the statue with huge banners, shielding it from view. During that time a rope was apparently attached to its base, which was used to pull it down. A WRAL reporter said she spied the rope before hearing a crack as the statue came down. Protestors then started shoveling dirt on the statue and kicking it before police made a cordon around the toppled monument. One person was arrested and charged for “concealing their identity during a public rally.”

This comes at a time when cities and institutions throughout the south are grappling with what role statues and symbols glorifying the Confederacy and spreading the Lost Cause myth should have in public spaces.

Photo by Daily Tar Heel

The One Year Anniversary of Unite the Right is Here. A lot Has Happened

Madelyne Ashworth | August 7, 2018

Topics: abigail spanberger, Anti-Racism, black lives matter, Confederate monuments, Corey Stewart, Crying Nazi, CSA II The New Confederate States of America, DACA, Dave Brat, David Duke, Dreamers of Virginia, Identity Evropa, Jason Kessler, KKK, Monument Avenue Commission, Parkland Florida shooting, Ralph Northam, trump, Unite the Right, white nationalism, white supremacy, zero tolerance policy

RVA Tank, Parkland Shooting, Democratic-nominee Spanberger, families separated at the border, KKK effigies, Governor Northam, punching Nazis, getting punched by Nazis.

It’s been a long year.

As we approach the one year anniversary of Unite the Right, the alt-right rally held in Charlottesville on Aug. 12 last year that ended with the death of counter-protester Heather Heyer, it’s hard to ignore the tension in the air. Whether that tension has increased or decreased, or the political dissension within our country is better or worse, Americans are certainly motivated. We’ve seen protest after protest, breaking news stories flying in each day with news of Russia, North Korea, Robert Mueller, Corey Stewart, and Jason Kessler.

The white nationalist movement has not slowed down, nor has it given up. Identity Evropa came to Richmond to pick up trash in hopes of normalizing their cause. The FBI has as many open cases concerning white supremacist propaganda online as they do for ISIS. And Unite the Right is happening again, but this time, its headed to Washington, D.C.

Here is a brief roundup of events from the past year to get you up to speed on the white nationalist movement in Virginia in preparation for this weekend’s latest appearance from our best-known racists (this list may not include every event related to white nationalism in Virginia):

August 2017: Jason Kessler, online blogger, and white nationalist, successfully organizes an alt-right rally called Unite the Right on Aug. 12 in Charlottesville, in the name of protecting the Confederate statues in two local parks. Several physical altercations occurred during the rally, and attendees were armed with bats, guns, or other weapons.

James Alex Fields, Jr., a white nationalist, drove his vehicle into a crowd of counter-protesters after the rally was deemed unlawful by police. His attack killed Heather Heyer and injured multiple others. Fields was part of Vanguard America, a white supremacist organization. He was placed in jail and denied bail.

President Trump suggested the blame for the violence rested with “many sides.”

September 2017: The Dreamers, young first-generation immigrants protected by the Deferred Action for Childhood Arrivals act, mobilized after Trump’s threat to end the program. Long marches between Charlottesville and Richmond as well as Charlottesville and Washington sprung up as September clung to summer temperatures. DACA was rescinded later that month by Trump, but at least temporarily upheld by the Supreme Court.

An activist group hung Ku Klux Klan effigies in Bryan Park.

The New Confederate States of America planned a rally in Richmond to support Confederate statues on Monument Avenue, claiming to be motivated by the Monument Avenue Historical Commission convened in June by Mayor Levar Stoney and tasked with providing recommendations for what to do with the statues. The rally took place on Sept. 16, attended by over 400 counter-protesters, a heavy police presence, and a small handful of CSA members who arrived in twos and threes. The CSA was severely outnumbered in what RVA Mag called a “win for Richmond,” as the protest ended peacefully.

Later that month, the FBI claimed white nationalists are just as dangerous as Islamic terrorists.

October 2017: At the beginning of the month, a circuit court judge in Charlottesville handed down a ruling signaling that the Commonwealth’s laws protecting war memorials could be retroactively applied to Virginia’s Confederate monuments.

The City of Charlottesville and several small businesses in the area filed a novel lawsuit to prevent future militia groups from entering their city again. This lawsuit is ongoing and continues to seek a verdict in August of 2018. Six defendants have settled since May 2018.

White nationalist Richard Spencer held a torch-lit rally in Emancipation Park in Charlottesville, glorifying the Robert E. Lee monument and mimicking a similar torch-lit rally held on UVA’s campus the night before Unite the Right. Around two dozen white nationalists were present.

Jason Kessler began a new white nationalist group called New Byzantium following Unite the Right. It’s one of many new alt-right groups that continue to crop up to this day, largely spread through online forums.

November 2017: In a Democratic sweep, Ralph Northam became the new Governor of Virginia, joined by Justin Fairfax as Lt. Governor, and Mark Herring as Attorney General. It was a significant Democratic victory similar to the victory of then-Senator Obama when he won the presidency in 2008. The blue wave was accompanied by a new wave of female representatives in the General Assembly, the largest number of women to be elected to the GA in Virginia’s history. This included the first Latina women, the first Asian-American, and the first transgender woman to win a seat in the GA.

January 2018: Chris Cantwell, the notorious “Crying Nazi,” faced up to 20 years in jail for pepper-spraying counter-protesters at a torch-lit white supremacist rally on UVA’s campus the night before Unite the Right. At the beginning of the month, he attempted to sue anti-fascists, claiming that they discharged the pepper spray against themselves.

Thousands of women come to Richmond for the one-year anniversary of the Women’s March.

March 2018: Deandre Harris, a black man viciously beaten by white nationalists during the Unite the Right, was charged and then acquitted of assault by the District Court in Charlottesville. During Unite the Right, Harris was assaulted by six men with wooden pikes in the Market Street Parking Garage, eventually sustaining a spinal injury and receiving 10 staples in his head.

June 2018: Nathan Larson, a self-confessed pedophile and white supremacist, runs for Congress in Virginia. Previously an accountant in Charlottesville, Larson is running as an independent. Jason Allsup, another white nationalist who attended the Unite the Right rally, was elected as a Republican official in Washington state. This marked the beginning of many white supremacists and anti-Semitic candidates running on the Republican ticket in America ahead of midterm elections. This trend continued with Corey Stewart, Virginia’s Republican candidate for the U.S. Senate. He appeared on CNN and struggled to answer questions about his past ties to white supremacists and anti-semites. He continues to be aggressive online and has not revoked his white nationalist ties.

Abigail Spanberger, the Democratic nominee for Virginia’s 7th District, wins a huge primary victory and will run against Dave Brat in the fall for the congressional seat.

President Trump begins his “zero tolerance” immigration policies and enacts legislation that separates immigrant children from their parents at the U.S.-Mexico border. National and international outrage sparks protests throughout the Commonwealth, including one outside Dave Brat’s office, who publicly supported Trump’s decision.

The National Parks Service approved an application submitted by Jason Kessler for another alt-right rally to be held in Washington, D.C. on Aug. 11 and 12 this year. This will come to pass this weekend in Lafayette Park, Washington, D.C.

Identity Evropa visited Richmond for a little community service by picking up trash around town in an attempt to normalize their organization and beliefs. In Lexington, local restaurant owner Stephanie Wilkinson refused to service White House Secretary Sarah Huckabee Sanders at her restaurant, The Red Hen. It was followed by five days of protests against and for her restaurant. In one instance, someone threw chicken feces on their storefront window.

July 2018: The Monument Avenue Commission recommended that the Jefferson Davis monument be removed from Monument Avenue, with Mayor Stoney’s approval. Later in August, an unknown individual vandalized the Robert E. Lee monument with red paint, writing “BLM” (Black Lives Matter) on the statue’s base. This is only the latest act of vandalism concerning the statues over the past year.

Chris Cantwell, the aforementioned “crying Nazi,” was barred from entering the Commonwealth for the next five years. He plead guilty to assault and battery for spraying two anti-racist activists with pepper spray the night before Unite the Right.

August 2018:

Now that August approaches, we look to another year that will hopefully not result in death or injury. Jason Kessler will be in D.C. this Sunday, Aug. 12, in Lafayette Square to march and protest in the name of “white civil rights.” Regular faces like Kessler, Spencer and former KKK Grand Wizard David Duke are said to appear and speak, although the movement has suffered serious divisions and other prominent white nationalists are disavowing Kessler.

A vigil will be held on Saturday, Aug. 11, in Charlottesville at 5 p.m. for Heather Heyer, in remembrance of her life, as well as an anti-racist march the next day in an attempt to heal from the events of last year.

Stay with RVA Mag on Instagram (@rvamag) and Twitter (@RVAmag) for updates on these events this coming weekend.

RVA Global: Beirut’s Reckoning With Civil War Has Lessons For Richmond

Katie Logan | July 12, 2018

Topics: Beirut, Civil War, Civil War History, Confederate monuments, design week, Fashion Week, lebanon, Monument Avenue, Monument Avenue Commission, richmond, RVA Global

Like Richmond, Lebanon’s capital city Beirut is still grappling with the legacy of civil war. Unlike those in Richmond, though, many of Beirut’s current residents lived through the most recent civil war, which lasted from 1975 to 1990. The political structure that exacerbated the tensions of the war still exists. Lebanon’s 18 official sect affiliations organize political representation, access to government services, and much of social life, largely as they did before the war.

Debates about reconciliation and commemoration co-exist with immediate concerns about ongoing rebuilding and preservation efforts, contemporary politics, and even, for some families, with lingering questions about the disappearance of loved ones. As a result, the attempt to identify some sort of collective memory is fraught.

The International Center for Transitional Justice notes that, “The civil war is not documented in school history books, and young people are often actively discouraged from discussing it in school.” I heard this concern echoed by friends and fellow educators in Beirut and ascribed to the difficulty of politicians’ and community leaders’ coming to narrative consensus about the war.

Without a shared academic curriculum or national narrative commemorating the war, Beirut’s artists and designers play a key role in visualizing memory and linking their history with the present. My time in Lebanon last month coincided with the seventh annual Beirut Design Week.

The program, which ran from June 22 through 29, showcased the work of local artists, designers, writers, and activists. Begun in 2012, Beirut Design Week (BDW) now offers more than 150 exhibits, lectures, temporary public art pop ups and performances, and interactive community events, drawing at least 25,000 visitors per year, according to the organizers’ calculations.

The theme of this year’s BDW was “Design and the City.” It called for contributors and audience members alike to, “Consider design’s transformative role in conceiving of the urban space in such ways that express our needs, desires and dreams as inhabitants of the city.”

While BDW exhibits explored a range of topics, the war’s legacy echoed throughout artists’ work and even through the exhibition sites themselves. The exhibits I attended cautioned against both remaining beholden to and ignoring history. Instead, they looked for ways that design and public art could mediate between the past and present.

Some pieces explicitly took up the impact of war reconstruction efforts. The BDW exhibit “Fading Memory” was created by the organization Architects for Change and was installed in Zico House, a formerly private home built in 1935 in the Sanayeh District. Architects for Change called Zico House a model of “adaptive reuse.”

In their introduction to the exhibit, they argued that Beirut has been negatively impacted by “the boom of foreign gentrification” in which developers from outside Beirut rebuild without considering the city’s culture and history. The Beirut Souks, for example, once the site of local trade in fabrics, spices, and other goods, now more closely resemble Short Pump. The renovation was spearheaded by a private real estate company called Solidere, which came under fire for its connections to the Hariri family (Rafik Hariri was a former prime minister of Lebanon who was assassinated in 2005; his son Saad currently holds the same position) and its willful erasure of civil war history in Beirut’s downtown.

To challenge that kind of development, Architects for Change turned Zico House into a space visibly flooded by memory. Artists created an imagined former resident of the house, a young boy whose recollections of home—“the rubber tree roots that broke through our tiles and became part of our house,” for example—were written on walls and hung from trees.

As visitors wound their way up Zico’s steep stairwell, they were invited to describe their own feelings about Beirut’s past, present, and future in a single word on tiles which were then added to a rooftop mosaic (one respondent’s three answers: “Raw, tragic, fragile”). Once on the rooftop, signs marked the former locations of buildings that were since demolished by war or by rebuilding, as cranes and constructions workers labored across the street.

Before the war, Beit Beirut, another BDW site, functioned as the Barakat House does now. It was designed by Lebanese architect Youssef Afandi Aftimos in 1924. Because of the building’s position on the dividing line between East and West Beirut, it became a sniper post and saw heavy fighting.

Today, Beit Beirut’s façade is pockmarked with bullet holes and worn down by fire. The casual observer might assume that she’s looking at a condemned building. Inside, though, new metal supports bolster the structure, the paint is fresh, and renovators have installed a modern auditorium and office spaces.

On the ground floor of Beit Beirut, a permanent exhibit describes the former photography business, Photo Mario, that was located at this address before the war. Curator Mona El Hallak describes the project as essential to Beit Beirut’s efforts as a “Museum of Memory.” Negatives and images uncovered from the debris after the war hang from the walls. Additional boxes of photos encourage viewers to pick one and attempt to locate the person in the image, drawing the audience into the work of reconciliation.

In her work on Beit Beirut, it’s clear that El Hallak sees memory as not only the attempt to clarify and understand the past, but as a way to navigate Beirut as it is now, a city informed by a long history of art, culture, business, and, yes, violence. The BDW-specific exhibit at Beit Beirut this summer continued that effort. Inside a building marked by what El Hallak calls “war architecture,” urban design researchers mapped 2018 Beirut based on the perception of migrant delivery drivers, the diminishing presence of the Beirut River, and interactive surveys that, in Jimmy Elias’s “Multiple City” project, uses feedback from the audience to “translat[e] subjective emotions and experiences into narratives that contribute to a better comprehension of cities and one’s own life within the city.”

Richmond and Beirut are nowhere close to identical cities, and what works for Beirut as it continues working toward a future that engages a legacy of violence and deep divide will not necessarily be true for Richmond. But with the Monument Avenue Commission Report’s recent emphasis on partnering with the local arts community to envision new possibilities for commemoration in Richmond, Beirut Design Week is a useful reminder that the work of navigating the past and envisioning the future should be creative, intentional, collaborative, a bit messy, and always open to the public.

All photos by Katie Logan

*This article was made possible in part by support from the VCU Global Education Office.

So Long, Jefferson Davis, President of the Confederate States

John Donegan | July 2, 2018

Topics: black lives matter, Confederate monuments, Jefferson Davis, Mayor Levar Stoney, Monument Avenue, richmond, Richmond monuments

After a long, heated debate, change became the chosen path for Richmond today. According to the Monument Avenue Commission, Richmond Mayor Levar Stoney officially recommended the removal of the Jefferson Davis Monument today from Monument Avenue.

“Of all the statues, this one is most unabashedly Lost Cause [sic] in its design and sentiment,” the commissioners wrote in the report.

The board includes Christy Coleman, CEO of the American Civil War Museum, and Sarah Driggs, author of “Richmond’s Monument Avenue,” among others who look to direct the River City away from the ‘lost cause’ narrative many of these monuments represent. And with these monuments having origins in the Confederate ‘lost cause’ mythology and Unite The Right 2.0 coming up in August, the commission came as a much needed response for these controversial monuments.

After nearly one year of intensive study by the ten person commission, the group produced a 117 page report considering the future of Richmond’s Confederate statues, opening the floor to options including removal or relocation of the Confederate statues into a museum, or somewhere with proper context.

“In addition to taking on the responsibility of explaining the monuments that currently exist, I have also asked the commission to look into and solicit public opinion on changing the face of Monument Avenue by adding new monuments that would reflect a broader, more inclusive story of our city,” said Stoney in a statement one year ago. “That is our goal.”

The yearlong review examining the statues originally created to “determine how best to reconcile a particular landscape viewed as both sacred and profane,” is now figuring that for many of the statues, removal is the best option. Riding off the recent change to the Barack Obama Elementary school last month, this is the first of many necessary reforms to a city that has never truly healed.

The report also addresses the monuments of Confederate Gens. Robert E. Lee, J.E.B. Stuart and Stonewall Jackson, President of the Confederacy Jefferson Davis and Confederate commander Matthew Fontaine Maury with short term changes that will add context to the statues, such as proper signage. They will also consider the opening or expansion into a museum exhibit, where the monuments may be put into proper context that reflects the newly inclusive historical significance the city wants to promote.

The commission’s site currently offers an open forum for public discussion, but is also developing a mobile app and new film and video that looks to rewire the proper narrative about Monument Avenue that is “consistent and historically accurate.”