A publishing career that spans over 30 years, critic and editor Susan Snodgrass writes about contemporary art, art criticism, material art practices, architecture, urbanism, and public art.
In/Site: reflections on the art of place
In/Site: Reflections on the Art of Place is my blog devoted to art, architecture and urbanism, using Chicago as a vantage point for reflections on the work of contemporary artists, public art and urban projects that reinvent the spatial environment of the city.
See my latest post below or visit the blog here.
May 16, 2018
It has been less than a year since violent hatred erupted on August 12, 2017 at a white nationalist rally in Charlottesville, Virginia, fueled by the planned removal of a bronze statue of Robert E. Lee from a public park. This horrific event has become the locus for the fiery debate about the fate of Confederate monuments, one that reignited some two years earlier when a self-identified white supremacist murdered nine black parishioners in a church in Charleston, South Carolina, triggering a wave of fallen Confederate statues throughout the American South. Today, similar disputes embroil other kinds of controversial public statues and monuments (nationalist, colonialist, racist, misogynist), eliciting a whole host of responses about how to represent complex, often problematic histories, and what to do with the physical markers of those histories when they tarnish the democratic principles the present upholds.