Our third
speaker, Esther
Thyssen, delved into the many complex contexts and meanings behind Salem’s
plethora of public
statues and sculptures.
Esther’s a
thoughtful and talented art historian, and in her talk she did a wonderful job
highlighting and analyzing many of the details and choices that make for great
public art (as in the truly unique and compelling Salem Witch Trials
Memorial) or, well, crappy statues (as in the Bewitched Statue, in
which Elizabeth Montgomery is ostensibly put in conversation with the Salem
Witch Trials). In keeping with the Colloquium’s focal points, she also very
effectively linked the individual statues and sculptures to the places and
spaces around them, and considered how they impact our experiences of a place
like historic and contemporary Salem.
Yet Esther
took her talk and ideas one step further, in a particularly challenging and
important way. It’s all too easy to critique the crass commercialism of the
Bewitched Statue, for example—but the truth, as Esther nicely noted, is that
the initial impulse behind a work, even the funding and government actions that
allow for its creation, don’t dictate how it’s responded to, what it means for
those who encounter it and make it part of their experience of a place. Her
arguments that all of a place’s public art becomes part of how its landscape is
inscribed, but also that the inscriptions continue to evolve and shift with
each arrival and perspective, are very important for us American Studiers to
keep in mind, as we consider the identities and meanings of every space around
us.
Next
speaker tomorrow,
Ben
PS. What
do you think? Any statues or memorials you’d especially highlight?
5/16
Memory Day nominee: Adrienne
Rich, the hugely talented poet, scholar and essayist, and
feminist
activist whose recent passing
only reminded us more of everything
she has meant to American
culture and society
for many decades.
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