1 STATUE MANIA TO MEMORIAL MANIA
Scope of the Subject
âThe notion of the monument as memorial or commemorative public event has witnessed a triumphal return,â cultural critic Andreas Huyssen observed in the mid-1990s. Reflecting on the âcurrent obsession with memoryâ and what he called a âmemory boom,â Huyssen commented on the âsurprisingâ contemporary resurgence of âthe monument and the memorial as major modes of aesthetic, historical, and spatial expression.â1
No American city better embodies these conditions of memorial mania than the nationâs capital. Washington has seen a glut of built and proposed memorials in the past few decades, all approved by Congress and each managed by the National Capital Planning Commission, the U.S. Commission of Fine Arts, the National Park Service, and/or fifteen other federal agencies claiming some degree of control over the cityâs built environment.2 Since 1995, the following memorials have been dedicated in Washington: the Pentagon Memorial (2008), Air Force Memorial (2006), National World War II Memorial (2004), George Mason Memorial (2002), Tomas G. Masaryk Memorial (2002), National Japanese American Memorial (2000), Mahatma Gandhi Memorial (1999), African American Civil War Memorial (1998), Women in Military Service for America Memorial (1997), Franklin Delano Roosevelt Memorial (1997), Korean War Veterans Memorial (1995), and Lockerbie Memorial Cairn (1995).3 In 2007, President George W. Bush dedicated the Victims of Communism Memorial, located just a few blocks from the U.S. Capitol (fig 1.1). Orchestrated by Heritage Foundation fellow Lee Edwards, the $950,000 memorial consists of a small plaza centerpieced by a ten-foot bronze called the Goddess of Democracy, a replica of the Statue of Liberty erected by Chinese student dissidents in Tiananmen Square in 1989.4
More memorials destined for the nationâs capitolâall similarly authorized by Congressâinclude the American Veterans Disabled for Life Memorial, Benjamin Banneker Memorial (commemorating an eighteenth-century African American scientist), and Adams Memorial (a memorial to the second and sixth presidents of the United States and their wives). The Dwight D. Eisenhower Memorial, Black Revolutionary War Patriots Memorial, Monument to the Victims of the Ukrainian Famine-Genocide of 1932â1933, and Martin Luther King, Jr. Memorial (see fig. 6.3, p. 320) are also on the lineup.
1.1. Thomas Marsh, Victims of Communism Memorial, Washington, D.C., dedicated 2007. (Courtesy of Heather Bowling.)
In 1986, worried that too many memorials might âget in one anotherâs way, competing for attention among themselves and against the landscaped beauty of the Mall,â Congress passed the National Commemorative Works Act, aimed at âseverely restrictingâ the numbers of memorials intended for the nationâs capitol. Yet legislative management of public commemoration is offset by countless constituent demands for national recognition. The actâs rather sweeping mandate, after all, is to promote commemorative works that evoke âthe memory of an individual, group, event, or other significant element of American history.â5 That covers a lot of territory.
Memorial mania is not just a federal issue, of course. In her study of monuments and memory in Lowell, Massachusetts, Martha Norkunas documented some 252 memorials erected in that northeastern textile town since the mid-nineteenth century. More than 65 were erected in the last two decades of the twentieth century.6
This dramatic increase in memorial numbers is explained in part by expanded understanding of commemoration itself. American memorials are as protean today as their American patrons and publics, and range from multi-acred properties like the National September 11 Memorial & Museum at the World Trade Center to single monuments like the David Berger National Memorial in Beachwood, Ohio, an abstract sculpture dedicated to an American athlete killed during terrorist attacks at the 1972 Munich Olympics. From permanent memorials intended as timeless national fixtures to temporary shrines erected at the sites of school shootings and car accidents, contemporary kinds of commemoration include plaques, parks, cairns, quilts (the NAMES Project Foundation AIDS Memorial Quilt), trees (the seven oaks planted at the Johnson Space Center in tribute to the crew of the Columbia space shuttle), and Web sites (there are thousands of online memorials to the victims of 9/11, Hurricane Katrina, and the Virginia Tech shootings, among others).
By extension, todayâs âobsession with memoryâ and memorials is grounded in a vastly expanded U.S. demographic and in heightened expectations of rights and representation among the nationâs increasingly diverse publics. As the following overview details, memorial mania is contextualized by a highly successful public art industry, burgeoning interests in âmemory studiesâ and âlivingâ or experiencing history, and shifting understanding of American national identity. In particular, memorial mania embodies the affective dimensionsâthe structures of public feelingâthat characterize contemporary life. And as Huyssen alludes in his comments on the âtriumphal returnâ of commemoration, todayâs memory boom has precedence in an earlier historical moment when monuments and notions of the monumental similarly dominated public art and public culture.
STATUE MANIA
Todayâs memorial mania parallels the âstatue maniaâ that gripped nineteenth- and early twentieth-century Americans and Europeans alike. In France, historian Maurice Agulhon explains, âstatueomaniaâ was especially realized in countless memorials to âMarianne,â a feminized symbol of revolution and liberty. Determined to unite the French body politic around a consensual national mythology, Third Republic patriots unleashed an army of Marianne memorials in public squares throughout France in the latter decades of the nineteenth century. They also stirred a âpatriotic fervorâ for laudatory statues of local and national French figures from Louis Pasteur and Denis Diderot to Berlioz, Danton, and Voltaire. In 1870, there were fewer than a dozen statues of âgreat menâ in Paris; by 1914, there were over 150. Statue mania, the monumental impulse of Franceâs Third Republic, was âan inherent feature of modern urbanism and liberal and secular society,â Agulhon remarks, and the parallel processes of forging the modern French nation-state and raising statues were seen as one and the same.7
Statue mania erupted in the United States from the 1870s to the 1920s for similar reasons. After the divisiveness of the Civil War, countless American cities and towns vied for statues (and other symbolic markers) that helped reimagine what Benedict Anderson terms the âaffective bonds of nationalism.â8 Statues not only embellished the postbellum public landscape but encouraged passionate and consensual understandings of nationhood. Frederick MacMonniesâs Pioneer Monument (1911) in Denver, Colorado, for example, a multi-tiered fountain featuring an equestrian statue of Kit Carson and other figures labeled âThe Hunter,â âThe Prospector,â and âPioneer Mother and Child,â promoted a national history defined by manifest destiny, American exceptionalism, Anglo-Saxon supremacy, and heteronormative family values (fig. 1.2). Commissioned by a Denver real estate outfit as a tribute to Coloradoâs first territorial governor, MacMonniesâs original design featured a statue of a naked Indian on horseback, âhis palm extended in a gesture of peace.â But Denver newspapers angrily objected, contending that Colorado âhas no love for the savage redskinâ and that the sculptorâs decision to depict a Native American was a âsad mistake.â9 MacMonnies revised his plans, substituting a fully-clothed figure of Kit Carson for the Indian, and the $72,000 monument was dedicated in Denverâs Civic Center Park in a ceremony attended by some ten thousand people.
Likenesses of American explorers, inventors, statesmen, and soldiers were commonly commissioned in the era of statue mania, as were âgreat menâ valorized by different Anglo-European ethnic groups. Baltimore, nicknamed âthe Monumental Cityâ in the early nineteenth century, was dotted with memorials to men ranging from George Washington and Edgar Allen Poe to Thomas Wildey (founder of the Independent Order of Odd Fellows in North America) and John Mifflin Hood (president of the Western Maryland Railway). Clevelandâs Cultural Gardens, a narrow strip of urban parkland first developed in the 1910s, was outfitted with statues, busts, and plaques commemorating the cityâs Czech, German, Hungarian, Italian, Polish, and Russian literary and musical legends. Staking their own claims to Americaâs historical memory, civic groups elsewhere erected memorials to founding fathers like Leif Erikkson (sculpted by Anne Whitney for the cities of Milwaukee, Wisconsin, and Needham, Massachusetts in 1887), Thaddeus Kosciusko (Boston, 1899; West Point, 1913), Giuseppe Garibaldi (New York, 1888), and Sam Houston (Houston, 1924).
1.2. Frederick MacMonnies, Pioneer Monument, Denver, Colorado, dedicated 1911. (Courtesy of the Denver Public Library, Western History Collection [call no. MCC-1631].)
Christopher Columbus was statue maniaâs most popular âgreat man.â As early as 1849, Missouri senator Thomas Hart Benton proposed that the forthcoming transcontinental railroad be commemorated by a colossal statue of Columbus âhewn from a granite mass or a peak on the Rocky Mountains . . . pointing with outstretched arm to the western horizon, and saying to the flying passengersââThere is the East; there is India.ââ10 (Although never built, Bentonâs grandiose scheme surely sparked Gutzon Borglumâs similarly ostentatious interest in carving memorials like Stone Mountain and Mount Rushmore.) Hundreds of other Columbus monuments, statues, busts, and fountains were built in other cities, including Baltimore, Boston, Brooklyn, Chicago, Columbus, New Haven, New York, Peoria, Providence, Sacramento, Scranton, St. Louis, and Willimantic, all of them honoring the four hundredth anniversary of the Italian explorerâs âdiscoveryâ of America. In 1912, Lorado Taftâs Columbus Memorial Fountain was erected in front of Washingtonâs Union Station, and dedicated in an elaborate civic ceremonhy that the New York Times said was âsecond only to the inauguration of a Presidentâ (fig. 1.3). Over 150,000 spectators listened to an address by President William Howard Taft and watched a parade of 15,000 troops, 2,000 cars, 50,000 Knights of Columbus, and numerous floats depicting notable moments in Columbusâs life.11
Statue mania was not unique to the nationâs white ethnics: postbellum black communities were also deeply engaged in what the Washington Bee, an African American weekly, called âmonument feverâ in 1889. Local and national drives (not all of them successful) to erect memorials to African Americans such as William C. Nell, Crispus Attucks (honored with a statue in Boston Common in 1888), Nat Turner, Frederick Douglass (Rochester, New York, 1899), Harriet Tubman (Auburn, New York, 1914), and John Mercer Langston were frequently covered in the Bee. The newspaperâs editor, W. Calvin Chase, was an avid memorial enthusiast who as early as 1883 had pushed for a monument that would honor black Civil War veterans and âbe erected at government expense in the nationâs capital.â12 While a bill to support it was introduced in Congress a few years later, such a monument would not be built until 1998, when the African American Civil War Memorial, featuring Ed Hamiltonâs Spirit of Freedom was dedicated in Washington (see fig. 4.28, on p. 231).
1.3. Lorado Taft, Columbus Memorial Fountain, Washington, D.C., dedicated 1912. (Photo by the author.)
Thousands of war memorials erected in the late nineteenth and early twentieth centuries paid tribute to Americaâs soldier dead and reified a national ideology of militarism and masculinity. Most were produced by a burgeoning commercial monument industry that provided mass-produced memorials to muncipalities all over the country. In the fifty years following the Civil War, for example, northern and southern cities purchased âstanding soldierâ statues of Union or Confederate warriors: common soldiers, generally lone infantrymen, standing on top of stone columns and grasping a rifle. Selecting stock examples from catalogues published by companies like the Armes Foundry in Chicopee, Massachusetts, or the Muldoon Monument Company in Louisville, Kentucky. Civic associations such as the Daughters of Union Veterans of the Civil War and the United Daughters of the Confederacy paid anywhere from $1,000 to $10,000 for the Civil War statue of their choice. In 1870, the Colored Womenâs Lincoln Aid Society of Philadelphia laid the cornerstone for a proposed $2,000 âmonument to those [black soldiers and sailors] who fell fighting to perpetuate our glorious Union.â13
In the early 1900s, many U.S. cities purchased stock statues of Spanish American War soldiers, called âhiker statuesâ after the animated march of American troops up Cubaâs San Juan Hill. In the 1920s, they spent their civic dollars on âfighting doughboyâ memorials depicting rifle-thrusting World War I infantrymen seemingly lifted from the European trenches of the western front.14 Ernest Moore Viquesney, who made funerary monuments for commercial firms in Georgia and Indiana, was one of several American sculptors who designed World War I memorials and produced hundreds of fighting doughboy statues for cities ranging from North Canaan, Connecticut, to Beaver, Utah (fig. 1.4). Each of Viquesneyâs bronzes, which cost $2,000 to $5,000 and were called Spirit of the American Doughboy, featured a seven-foot soldier boldly striding through a no-manâs-land of barbed wire and shelled tree stumps, hoisting a bayonet in one hand and a grenade in the other. Capitalizing on their popular appeal during the era of statue mania, Viquesney also marketed $6 fighting doughboy statuettes (âendorsed and recommended by the National Memorial Committee of The American Legionâ), desk lamps, and candlesticks.15
Other cities boasted the individually commissioned and much more expensive memorials of sculptors such as MacMonnies, Taft, Daniel Chester French, and Augustus Saint-Gaudensâprofessional artists who saw themselves as the cultural custodians of American taste and viewed their statues as ways to educate the public about âofficialâ and hence appropriate national histories and ideals. As John Bodnar argues, âOfficial culture relies on âdogmatic formalismâ and the restatement of reality in ideal rather than complex or ambiguous terms . . . Cultural leaders, usually grounded in institutional and professional structures, envisioned a nation of dutiful and united citizens . . . and never tired of using commemoration to restate what they thought the social order and citizen behavior should be.â16 Statues played a vital role in championing collective national id...