The Line Between History and Propaganda: A Powerful Exhibit at MOCA Geffen
In a thought-provoking exhibit, "Monuments" at MOCA Geffen and The Brick challenges the notion of what constitutes history and propaganda. The show features 18 decommissioned monuments, including bronze ingots that were once symbols of white supremacy, but are now being recontextualized to highlight their problematic past.
The exhibit's curator, Hamza Walker, notes that these objects are not simply historical artifacts, but rather "myth" that has been passed down through generations. By recontextualizing these monuments with commissioned artworks and didactic materials, the show aims to expose the myth of valor and instead reveal the truth about the Confederacy's history.
One notable piece is Kara Walker's "Unmanned Drone," which transforms a toppled bronze statue into a grotesque centaur, combining elements of Confederate leaders with those of animals. This powerful work serves as a counterbalance to the monuments on display, highlighting the horrors of slavery and white supremacy.
The exhibit also includes works by other artists, such as Bethany Collins, Abigail DeVille, and Karon Davis, who use various mediums to address issues of racism, oppression, and social justice. These pieces serve as a testament to the ongoing struggle for equality and human rights in the United States.
Throughout the exhibit, Walker notes that the Lost Cause ideology is still alive and well, perpetuating myths about the Confederacy's motivations and justifications for secession. The exhibit serves as a powerful rebuke to these ideologies, instead highlighting the darker side of American history.
Ultimately, "Monuments" at MOCA Geffen and The Brick is not simply an exhibition about Confederate monuments; it's a call to action, encouraging viewers to engage with the complexities of American history and to confront the ongoing impact of systemic racism. By recontextualizing these monuments, the show aims to promote a more nuanced understanding of the past and its continued relevance in today's society.
As Walker notes, "Sometimes you're not even aware of the ebb and flow... And suddenly, to watch the dismantling of things that I thought were sacrosanct, that's the ebb and flow." The exhibit serves as a testament to this idea, highlighting the ongoing struggle for justice and equality in America.
In a thought-provoking exhibit, "Monuments" at MOCA Geffen and The Brick challenges the notion of what constitutes history and propaganda. The show features 18 decommissioned monuments, including bronze ingots that were once symbols of white supremacy, but are now being recontextualized to highlight their problematic past.
The exhibit's curator, Hamza Walker, notes that these objects are not simply historical artifacts, but rather "myth" that has been passed down through generations. By recontextualizing these monuments with commissioned artworks and didactic materials, the show aims to expose the myth of valor and instead reveal the truth about the Confederacy's history.
One notable piece is Kara Walker's "Unmanned Drone," which transforms a toppled bronze statue into a grotesque centaur, combining elements of Confederate leaders with those of animals. This powerful work serves as a counterbalance to the monuments on display, highlighting the horrors of slavery and white supremacy.
The exhibit also includes works by other artists, such as Bethany Collins, Abigail DeVille, and Karon Davis, who use various mediums to address issues of racism, oppression, and social justice. These pieces serve as a testament to the ongoing struggle for equality and human rights in the United States.
Throughout the exhibit, Walker notes that the Lost Cause ideology is still alive and well, perpetuating myths about the Confederacy's motivations and justifications for secession. The exhibit serves as a powerful rebuke to these ideologies, instead highlighting the darker side of American history.
Ultimately, "Monuments" at MOCA Geffen and The Brick is not simply an exhibition about Confederate monuments; it's a call to action, encouraging viewers to engage with the complexities of American history and to confront the ongoing impact of systemic racism. By recontextualizing these monuments, the show aims to promote a more nuanced understanding of the past and its continued relevance in today's society.
As Walker notes, "Sometimes you're not even aware of the ebb and flow... And suddenly, to watch the dismantling of things that I thought were sacrosanct, that's the ebb and flow." The exhibit serves as a testament to this idea, highlighting the ongoing struggle for justice and equality in America.
so i was wondering about this new exhibit at MOCA Geffen... like how do we even decide what is history and not propaganda? 
and why are these monuments still relevant today? 
i mean, aren't they just relics of a painful past that we'd rather forget? 
but at the same time, by recontextualizing them, aren't we kinda perpetuating the same myths in a different way? 
it's like, can we really trust our own memories and narratives about the past? 
and what does it mean to confront these uncomfortable truths head-on? 
. It's like, we need to acknowledge our past mistakes and work towards a better future, but instead, some people try to rewrite history to fit their own twisted narratives 
. I love how Kara Walker's piece is just... wow, it's like a punch in the face, you know? 
It's time for us to have a real conversation about our country's dark past and how we can move forward from there. We need art that makes us uncomfortable, not some sanitized version of history that ignores the pain of others 
.
. I mean, can you even believe these bronze ingots were once symbols of white supremacy? It's wild how much history has been distorted over time. And Kara Walker's piece "Unmanned Drone" is straight fire 
! It's like she took a statue that was meant to celebrate slavery and turned it into a grotesque representation of the horrors that happened. The way they're recontextualizing these monuments is so important - it's not just about understanding history, but also about acknowledging how our ancestors' actions continue to affect us today 
. Can't wait to see more art that challenges our perspectives! 
and honestly i'm not sure if this exhibit is doing enough to address the systemic racism that these monuments represent 
The way Kara Walker's "Unmanned Drone" transforms that bronze statue into a grotesque centaur is straight fire 
This exhibit sounds so powerful 
. This exhibit is like a punch in the face, making us confront our own biases and ignorance. It's time we start telling the full story of America's history, with all its complexities and flaws 
.
and now they're just... gone 
what's next? turning the Statue of Liberty into a giant spider web? 
but seriously though, it's so important to confront these dark parts of our history and not just keep pretending like everything is okay 
... It's crazy how our perception of history can be manipulated by myths and propaganda. Those decommissioned monuments are like, totally twisted now 
- I mean, who thought it was a good idea to celebrate white supremacy? The way the artists recontextualized them is genius 
, making us confront the dark side of American history.
! 
it's like she took these monuments and turned them into something that's actually ugly and grotesque, which is PERFECT 
. It's telling us to engage with the complexities of American history and confront the ongoing impact of systemic racism 
. It's time we start having real conversations about how our country's past is still affecting us today 
. It's time we stopped sugarcoating the past and started confronting the truth about American history.
. It's not an easy conversation to have, but someone's gotta have it 
.
. It's a powerful reminder that our history is not always pretty, and sometimes we gotta get uncomfortable to confront it head-on 
and it was so cool! Did you know they're gonna make tunnels under LA? 
. It's time to acknowledge our collective complicity in perpetuating racism and start working towards a more just society 
but is it really necessary to make a point about slavery & racism every time? can't we just talk about other issues for once? 
. It's like she's saying, "Hey, this isn't just some harmless old statue, this is a symbol of racism and oppression." But at the same time, I'm also kinda worried about how people are gonna react to it 
. Are they gonna be offended or upset? Will they even come to see the exhibit? Only time will tell 
.