The World Trade Center site allows anthropologists and educators to reflect on the relationship of public space to culture, and to consider the symbolic importance of this site for imagining the public culture of the future. Public spaces in the city have the potential of being places of learning and democratic practice, but the trend toward increased surveillance and policing of these spaces, exaggerated by September 11, makes this potential difficult to realize. Anthropologists and educators interested in the nexus of education, place, and culture should consider becoming involved in this imagining process and insert themselves into the ongoing debate in order to preserve spaces for learning and democracy.
Public monuments traditionally appear in high contrast to their landscapes, an effect that sets aesthetic, ideological and social distances. However, Manmale, counter-monuments, and counter-hegemonic monuments (eg the AIDS quilt, Rachael Whiteread’s House, Melbourne’s Another ViewWalking Trail, Tiananmen’s Goddess of Democracy, or Maya Lin’s Vietnam Memorial), challenge the norms of monuments in visuality, fixedness, and permanence, and suggest intricacies which mediate the interactivity of art, site and passers-by. In this paper, I consider three counter-hegemonic monuments in Vancouver, British Columbia – all installed in 1997/98 and all dealing with the issue of violence – sited within one neighbourhood. Via archival research, interviews, and extensive participant observations investigating how the monuments actually function in social memory rituals, I discovered that the characteristics of publicness in the landscapes that lay ‘beneath and before’ the monuments deeply affected their origins, designs, and current uses.
Building on Whyte’s work on livable places, the present study developed a four-item scale to assess visitability and used it to test whether three attributes identified by Whyte—seating, food, and triangulation—increase visit- ability.The study used color slides of three plazas altered for the presence or absence of each attribute. Sixty participants (23 men and 37 women) rated slides of the plazas on each of four items on the Perceived Visitability Scale (PVS). The four items had high interitem reliability, and each item and their composite had high interobserver reliability.The visitability ratings showed that plazas with seats, food, or sculpture had higher scores than plazas without those elements; and the combination of seats and sculpture had higher scores than either element alone. Contradicting Whyte, there was no statistically significant effect of gender. Seats, sculpture, and the perceived compatibility of elements with one another may improve plaza visitability.
Art in public space in South Africa is
increasingly a more visible locus of sociopolitical resistance and recalibration
of the public sphere. This article focuses upon an emblematic example: the sculpture of a former colonialist, removed from its public university site in Cape Town following sustained protests. Since April 2015, the
empty plinth of Cecil John Rhodes has become a site of re-imagination – from graffiti interventions to performance and installation art. While the plinth continually morphs in symbolism and significance, its ousted artwork
waits at an undisclosed location for its fate to be decided. This interregnum represents a liminal condition that theorists call ‘third space’, extended in this research towards a fourth dimension of performativity. The
physical disappearance of the artwork has triggered a second life, its apogee a national protest movement with global resonance. Rhodes Must Fall and Fees Must Fall are student-led calls for university decolonisation and free education arguably best understood as provocation around systemic issues in society. As this deeper work ensues amid fractious contestations, the artwork's re-animation of the public sphere is clear. Its leftover plinth is political, making visible other kinds of structural voids. It is also poetic: a zombie monument demonstrating
through its reinventions public space as common space – contested, negotiated and performed in the daily creation of city futures.
