In a bold artistic statement, the Geffen Contemporary at the Museum of Contemporary Art (MOCA) in Los Angeles has become the site of a groundbreaking exhibition entitled Monuments. This exhibition presents a striking juxtaposition of decommissioned Confederate statues alongside provocative works from contemporary artists. The show aims to challenge the traditional narratives surrounding these historical artifacts, raising questions about their significance in today’s society.
One of the exhibition’s notable venues is The Brick, a local arts nonprofit situated between a Buddhist temple and an avant-garde theater. Upon entering The Brick, visitors encounter a security checkpoint complete with metal detectors, an unusual sight for an art gallery. This heightened security underscores the emotional weight of the exhibition, particularly with the centerpiece being Unmanned Drone, a dramatic sculpture by artist Kara Walker. The piece features a reconfigured statue of Confederate General Thomas J. “Stonewall” Jackson, which was dismantled in Charlottesville, Virginia, after standing for over a century as a symbol of the Lost Cause.
Artistic responses to historical context
In her commentary for the exhibit, Walker poses a crucial question: What should be done with a decommissioned monument? She reflects on the violent history from the Reconstruction era through the Civil Rights Movement, suggesting that artists face a dilemma: either leave these symbols untouched or obliterate them entirely. Walker, however, embraces a third path—she advocates for reconstruction.
A radical transformation
Her sculpture serves as a chilling reminder of the past, transforming Jackson and his horse, Little Sorrel, into a nightmarish creature that echoes through history. Walker’s approach can be likened to her previous work, A Subtlety, where she created a monumental sugar-coated sphinx in a defunct factory, critiquing historical exploitation through an artistic lens. The emotional resonance of Walker’s work stayed with me long after visiting the exhibit.
Upon arriving at MOCA, I met with Hamza Walker—no relation to Kara—and Bennett Simpson, the senior curator. They stood before a granite remnant of a once-mighty statue of Robert E. Lee, now marked by graffiti as a testament to contemporary protest movements. Simpson described the idea behind the exhibition as straightforward yet complex: These monuments are falling, and we are bringing some into the museum to reevaluate their meanings. The exhibition features elements from various Confederate monuments alongside pieces from 19 contemporary artists, creating a dialogue between history and modernity.
The roots of the exhibition
The conception of Monuments can be traced back to several pivotal events, notably the tragic mass shooting at the Emanuel African Methodist Episcopal Church in Charleston, South Carolina. The attack, perpetrated by a white supremacist, reignited national debates over the display of Confederate symbols.
Contextualizing the controversy
In August 2017, the tension escalated when white supremacists rallied in Charlottesville against the removal of the Lee statue, culminating in violence that claimed the life of civil rights activist Heather Heyer. In response, cities across the country began dismantling similar monuments. Yet now, as some statues are being restored in various locations, including the controversial Albert Pike statue in Washington, D.C., the conversation continues to evolve.
Hamza Walker remarked on the rapid restoration of such monuments, noting the financial implications and political motivations behind these actions. He and Simpson pointed out the legal intricacies involved in the fate of these statues, particularly those under federal jurisdiction, contrasting them with the local and state-managed monuments featured in their exhibition.
Art as a reflection of society
The exhibition does not shy away from controversy; indeed, it has garnered attention from various media outlets, some of which criticize the recontextualization of these historical figures. For instance, a piece in Fox News condemned the exhibition as barbaric, yet failed to acknowledge the roots of the discussion surrounding these monuments.
As one moves through the exhibition, the scale of the statues, once elevated on pedestals, now lies at eye level, allowing for an intimate confrontation with their historical weight. The commissioned works displayed alongside the Confederate statues are impressive. For example, Walter Price created a series of paintings surrounding a statue of Confederate naval commander Matthew Fontaine Maury, engaging visitors in a dialogue about heritage and identity.
One of the exhibition’s notable venues is The Brick, a local arts nonprofit situated between a Buddhist temple and an avant-garde theater. Upon entering The Brick, visitors encounter a security checkpoint complete with metal detectors, an unusual sight for an art gallery. This heightened security underscores the emotional weight of the exhibition, particularly with the centerpiece being Unmanned Drone, a dramatic sculpture by artist Kara Walker. The piece features a reconfigured statue of Confederate General Thomas J. “Stonewall” Jackson, which was dismantled in Charlottesville, Virginia, after standing for over a century as a symbol of the Lost Cause.0
One of the exhibition’s notable venues is The Brick, a local arts nonprofit situated between a Buddhist temple and an avant-garde theater. Upon entering The Brick, visitors encounter a security checkpoint complete with metal detectors, an unusual sight for an art gallery. This heightened security underscores the emotional weight of the exhibition, particularly with the centerpiece being Unmanned Drone, a dramatic sculpture by artist Kara Walker. The piece features a reconfigured statue of Confederate General Thomas J. “Stonewall” Jackson, which was dismantled in Charlottesville, Virginia, after standing for over a century as a symbol of the Lost Cause.1
