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Monuments --- Outdoor sculpture --- Public sculpture, American --- Statues

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Public sculpture, American --- Architectural models --- Sculpture publique américaine --- Modèles architecturaux --- Exhibitions --- Expositions --- Acconci, Vito, --- Exhibitions. --- Art --- sculpture [visual works] --- installations [visual works] --- public art --- Acconci, Vito

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The United States of America originated as a slave society, holding millions of Africans and their descendants in bondage, and remained so until a civil war took the lives of a half million soldiers, some once slaves themselves. Standing Soldiers, Kneeling Slaves explores how that history of slavery and its violent end was told in public space--specifically in the sculptural monuments that increasingly came to dominate streets, parks, and town squares in nineteenth-century America. Here Kirk Savage shows how the greatest era of monument building in American history arose amidst struggles over race, gender, and collective memory. As men and women North and South fought to define the war's legacy in monumental art, they reshaped the cultural landscape of American nationalism. At the same time that the Civil War challenged the nation to reexamine the meaning of freedom, Americans began to erect public monuments as never before. Savage studies this extraordinary moment in American history when a new interracial order seemed to be on the horizon, and when public sculptors tried to bring that new order into concrete form. Looking at monuments built and unbuilt, Savage shows how an old image of black slavery was perpetuated while a new image of the common white soldier was launched in public space. Faced with the challenge of Reconstruction, the nation ultimately recast itself in the mold of the ordinary white man. Standing Soldiers, Kneeling Slaves, the first sustained investigation of monument building as a process of national and racial definition, probes a host of fascinating questions: How was slavery to be explained without exploding the myth of a "united" people? How did notions of heroism become racialized? And more generally, who is represented in and by monumental space? How are particular visions of history constructed by public monuments? Written in an engaging fashion, this book will appeal to a wide range of readers interested in American culture, race relations, and public art.

Slaves --- Public sculpture, American --- Esclaves --- Sculpture publique américaine --- Emancipation --- Affranchissement --- United States --- Etats-Unis --- History --- Social aspects --- Race relations. --- Histoire --- Aspect social --- Relations raciales --- National characteristics, American --- Social aspects. --- Slavery --- American public sculpture --- American national characteristics --- Enslaved persons

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The United States of America originated as a slave society, holding millions of Africans and their descendants in bondage, and remained so until a civil war took the lives of a half million soldiers, some once slaves themselves. Standing Soldiers, Kneeling Slaves explores how that history of slavery and its violent end was told in public space - specifically in the sculptural monuments that increasingly came to dominate streets, parks, and town squares in nineteenth-century America.

Enslaved persons --- National characteristics, American --- Public sculpture, American --- Emancipation --- History --- United States --- Social aspects. --- Race relations. --- Abolitionism. --- African Americans. --- Allegory. --- Americans. --- Anecdote. --- Apollo Belvedere. --- Archer Alexander. --- Augustus Saint-Gaudens. --- Black body. --- Black people. --- Black school. --- Booker T. Washington. --- Caricature. --- Cemetery. --- Citizenship. --- Civilization. --- Collective memory. --- Confederate States of America. --- Criticism. --- Debasement. --- Emancipation Proclamation. --- Emblem. --- Equestrian statue. --- Exclusion. --- Expatriate. --- Freedman. --- George Washington Williams. --- Grand Army of the Republic. --- Harper's Weekly. --- Harriet Beecher Stowe. --- Harriet Hosmer. --- Henry Highland Garnet. --- Hiram Powers. --- Iconography. --- Ideology. --- Illustration. --- Institution. --- John C. Calhoun. --- John Mercer Langston. --- John Quincy Adams Ward. --- Laborer. --- Liminality. --- Lincoln Memorial. --- Lincoln Monument (Dixon, Illinois). --- Lorado Taft. --- Lydia Maria Child. --- Manumission. --- Martin Luther King, Jr. --- Masculinity. --- Militarism. --- Military service. --- Militia. --- Monument Avenue. --- Monumental sculpture. --- Narrative. --- Nationality. --- Newspaper. --- Noel Ignatiev. --- Nudity. --- Old South. --- Oppression. --- Orlando Patterson. --- Patriarchy. --- Pediment. --- Physiognomy. --- Politician. --- Politics. --- Public space. --- Race (human categorization). --- Racial hierarchy. --- Racism. --- Radical Republican. --- Randolph Rogers. --- Relief. --- Rhetoric. --- Robert Gould Shaw. --- Sculpture. --- Slavery. --- Social death. --- Sojourner Truth. --- Statue. --- Suggestion. --- Superiority (short story). --- The Greek Slave. --- The New York Times. --- The Other Hand. --- The Various. --- Thomas Wentworth Higginson. --- Union Army. --- Vinnie Ream. --- War memorial. --- Warfare. --- White Southerners. --- White people. --- White supremacy. --- William Dean Howells. --- William Greenleaf Eliot. --- William Wetmore Story. --- Winthrop Jordan. --- Writing. --- 1800-1899