For the last year and a half, the Monumental Project has taken a close look at all of the pieces of historical preservation, activism, public art and legislation that has created the conversation around monuments of oppression. These conversations, as you can hear in our previous episodes, are extremely multifaceted and nuanced. An array of industries, missions and opinions have created a very interesting mosaic of perspectives. This is a vital part of the monuments toolkit: finding the individual actors and institutions that play a part in this ongoing conversation that we're having, between the art of the past, the perspectives of now and the way we are moving in the future. With all that being said, it's time that we shine a light on the Monuments Toolkit itself. What are the elements that make this project so interesting? What are the components that we focus on? And what are the next steps for developing research towards this topic? To speak to that we sat down with William Humphrey and Gilbert Correa, two members of the research and publications team for the Monuments Toolkit.In a very fascinating conversation, we talked about the Monuments Toolkit’s inner workings, what we're aiming to accomplish on a grand scale, the case studies that have made the biggest impact on the project, and the conversations that we need to have in order to continue the best work possible. Enjoy!

If you’ve tuned into the show before, then you know that most of our conversations are centered around public art, history and racial justice. The combination of these three things are the essence of what makes this topic so interesting: how does one tackle the artistic, historic and cultural meaning behind a public structure in the best way possible? For the most part, these monuments are city wide issues that permeate the public discourse of a community. Of course, there are times like in 2020 when many eyes are on specific monuments like the Columbus statue in St. Paul and Monument Avenue in Richmond. But for the most part, these are local issues that, with enough public discourse and political backing, are resolved to some degree. However, there are unique instances where an oppressive monument has so much artistic weight, so much history and so much cultural impact that the conversation around it goes beyond these three elements. What results is a structure that is essentially too big to fail, despite the outdated meaning of the monument itself. It’s hard to find examples like this in the United States, but there is one that stands out above the rest. With a size of over 17,000 square feet engraved in one of the biggest geological formations in the country, the Confederate Memorial Carving in Stone Mountain is a fascinating story to say the least. Not only is it the biggest confederate monument in the country, it’s also a tourist attraction to anyone visiting Georgia. A rebrand of Stone Mountain Park in the 80s made what was originally a bland history-focused walk into a family friendly amusement park that just so happens to be centered around confederate soldiers. Almost everyone that lives in Georgia has been or knows someone who has made the trek up the mountain, and the sight of  Jefferson Davis, Robert E. Lee, and Stonewall Jackson are clear as day. Many scholars, historians, and political organizations have advocated for change. However, changing Stone mountain and its accompanying engraving is nowhere near an easy task. To speak to this, we sat down with Sheffield Hale and Claire Bailey from the Atlanta History Center. The Atlanta History Center, or AHC, is a history museum and research center located in Atlanta, Georgia. Founded in 1926, the museum currently consists of nine permanent, and several temporary, exhibitions. They also have a variety of programs and initiatives aimed at connecting people to history and culture in a thoughtful and comprehensive way. One of these projects is the Confederate Monument Interpretation Guide, founded in 2016 with a focus on breaking down Lost Cause ideology. Sheffield Hale is the CEO of the AHC, and Claire Haley is the CEO and VP for Democracy Initiatives at the Atlanta History Center.As a pioneer in the conversation around monuments of oppression, we were very excited to finally talk to them. Enjoy the show!

When it comes to the conversation around Monuments of oppression, there are a few obstacles that usually come into play. To start, there's the Daughters of the Confederacy, the neo-Confederate association for female descendants of Confederate Civil War soldiers. They work all over the country to “preserve the legacy” of Confederate soldiers  by actively fighting against any Confederate monument removal. Additionally, there are the white nationalist groups that, through misinformation and a lot of anger, block peaceful protests and legislative progress all over the country as well. But in southern states in particular, a different kind of obstacle has proven to be quite difficult to overcome. I’m talking about specific laws and codes that get in the way of social progress. Let’s take a look at Mississippi, for instance. Mississippi was the last state in the country to have the Confederate emblem on its flag. Mississippi state politicians have also had laws protecting Confederate monuments on the books since 1972. Structures, including the "War Between the States" Monument, are prohibited from being relocated, removed, or defiled by the Mississippi Code of 1972. South Carolina is no different. Since 2000, the South Carolina Heritage Act has been cited as a way to protect Confederate monuments. The act was an amendment to a code of laws in 1976. And now, recent news has come up about Florida proposing a bill that would Allow civilians to sue when Confederate monuments are damaged or removed, making it, if passed, one of the most detrimental pieces of legislation to the conversation around monuments of oppression. Although there are a myriad of obstacles that come up when dealing with racial justice in southern states, there are still organizations and movements who are working twice as hard to get the job done on a grassroots and statewide level. This month, the Monuments Toolkit headed down to Alabama to speak to two amazing women who are fighting back against these obstacles in their own unique ways. The Monumental Project spoke with Camille Bennett of Project Say Something and Michelle Browder from the Mothers of Gynecology Monument. Enjoy!

Welcome to another episode of The Monumental Project on behalf of the Monuments Toolkit! In honor of Pride Month, we decided to look at an incredible monument collection that does an amazing job championing the LGBTQ+ community. The monuments in question? None other than The Legacy Walk in Chicago, Illinois. The LGBTQ+ community has made great strides in the past few decades in the field of public art representation. One notable example of public art representing the gay community is the iconic Stonewall National Monument in New York City. Erected in 2016, the monument commemorates the historic Stonewall uprising of 1969, a pivotal moment in the fight for LGBTQ+ rights. The monument, located in the heart of Greenwich Village, serves as a symbol of resilience and marks the birthplace of the modern LGBTQ+ rights movement. It stands as a reminder of the ongoing struggle for equality and the importance of safe spaces for all individuals to express their authentic selves. This monument, as well as other public art installations like the AIDS Memorial Quilt, have provided the LGBTQ+ community with positive reminders that their history and identity is respected.    Today we are focusing on the Legacy Walk in Chicago Illinois, another monument collection that does an amazing job highlighting the impacts of exceptional LGBTQ+ individuals. Public art plays a significant role in shaping our cities, fostering inclusivity, and most importantly highlighting diverse narratives. This is the biggest reason why controversial monuments are an issue; their presence upholds a niche and outdated narrative. The work of the Monuments Toolkit often focuses on controversial monuments that have glorified specific pieces of history, but we also love to draw attention to what we call Monuments of Upliftment. Monuments that are, in our eyes, correctly using the power of statues and monuments to support amazing organizations, histories and cultures. The Legacy Walk is a great example of this. The Legacy Walk is a dynamic outdoor history display in Chicago's "Lakeview" neighborhood, also known nationally and globally as "Boystown." Ten pairs of 25 feet tall ornate steel "Rainbow Pylons" indicate the nexus of Chicago's LGBTQ community along the half-mile North Halsted Street Corridor, between Belmont Avenue and Grace Street.A series of bronze biographical memorial markers affixed to the pylons commemorate the life and work of notable LGBTQ individuals whose achievements have helped shape the world - but whose contributions, sexual orientation, or gender identity have been overlooked, minimized, or completely redacted from most historical texts.The installation is amazing for many reasons, which is why it became a national landmark in 2019 and the only outdoor LGBTQ history museum in the world. To speak to the history and creation of this monument, The Monumental Project spoke to Victor Salvo. Victor Salvo is the creator, co-founder and executive director of the Legacy Project, the program responsible for the Legacy Walk. A native Chicagoan, Victor Salvo has been an activist for four decades.  As co-founder and executive director of the award-winning“Legacy Project,” Victor works to educate the general public about the many roles that Lesbian, Gay, Bisexual, Transgender and Queer (LGBTQ) people have played in the advancement of world history and culture.We sat down with Victor to speak on Chicago's LGBTQ history, the inspiration behind this collection, and how it's already impacted the lives of so many people.

In Philadelphia, monuments are more than just stone and bronze. They're time capsules that take us back to pivotal moments in American history. From William Penn, the Liberty Bell, to even the Rocky Balboa statue, Philadelphia boasts a wide range of public art that rivals the most famous cities around the world. In fact, Philadelphia holds the world record for the most public art in a single city.     As we take a closer look at Philadelphia's monuments, we'll shine a light on the stories and history often left in the shadows. It’s only right that the Monuments Toolkit took a deep dive into the monuments that the city upholds, the monuments that have caused tension in recent years, and the right path for a city filled with so much history. Together, we'll grapple with the complexities of memory, seeking to understand how these monuments can bridge divides and pave the way for a more inclusive future. For this conversation, we spoke with Paul Steinke from the  Preservation Alliance of Greater Philadelphia and Harry Philbrick from The Philadelphia Contemporary. Earlier in his career, Paul Steinke served for four years as the founding Executive Director of University City District, a neighborhood improvement organization that has been central to the revitalization of West Philadelphia. Before that, Paul was a founding staff member of the Center City District, Philadelphia’s downtown improvement agency, where he spent seven years as its Finance Director.     Paul Steinke now serves as executive director of the Preservation Alliance for Greater Philadelphia, a membership-based organization whose mission is to promote the appreciation, adaptive re-use and development of the Philadelphia region’s historic buildings, communities and landscapes. Harry Philbrick has over 25 years of experience in museum management, exhibition development, and educational programming. Philbrick is keenly aware of the challenges of making contemporary art exhibitions accessible to a variety ofAudiences. From 1996 - 2010 he was Director of The Aldrich Contemporary Art Museum, building the Museum’s celebrated new building, developing innovative education programs  and leading the museum's exhibition program, working with artists such as Ann Hamilton, Robert Gober, Fred Wilson, and KAWS.      Philbrick founded Philadelphia Contemporary in 2016. The Contemporary‘s mission is to connect the people and places of Philadelphia through art and partnership. The Monumental Project spoke on the history of the city, the monuments that shape the artistic culture, and how historic structures affect all of us. Enjoy!

Urban planning has been a hot topic in recent years, with the world's cities experiencing rapid growth and transformation. As populations surge and infrastructure struggles to keep up, urban planners face a myriad of challenges. One such challenge is how to reconcile the need for progress with the preservation of our cultural heritage. This issue is especially pronounced when it comes to monuments that have come under scrutiny for their controversial histories.Many of these structures, from the Confederate memorials in the south to statues of colonial figures out west and on the east coast , have become flashpoints for social instability. For many, they are a bitter reminder of past atrocities as well as a celebration of authoritarian systems. Others see them as emblems of cultural heritage and testaments to their forefathers' achievements. How do we reconcile these opposed points of view, and what role do urban planners play in this debate?As cities continue to evolve, their planning strategies must do the same. Urban planners have a critical role to play in shaping our cities and ensuring that they are inclusive, and equitable for all. This includes addressing the issue of controversial monuments and their impact on public spaces. Whether through the removal, relocation, or recontextualization of these structures, urban planners must find a way to strike a balance between preservation and progress. To speak to that, we sat down with Matthew Clarke from the Design Trust for Public Space. Matthew Clarke joined the Design Trust in May of 2020 as Executive Director, where he advocates for the power of public space to build vibrant, equitable communities. As an architect, planner, and writer, he has created complex architectural and urban design projects; developed public-space policies; and developed national partnerships and initiatives. Prior to leading the Design Trust, Matthew was the National Director of Creative Placemaking at The Trust for Public Land, where he authored The Field Guide for Creative Placemaking and Parks. He has also held positions at SHoP Architects and NYC’s Department of Cultural Affairs, The Monumental Project spoke with Matthew about how to shape cities for the future, how controversial monuments affect the average citizen, and the importance of a city that reflects the people within it. Enjoy!

Women have been creating public art for centuries, but their contributions have often been overlooked or undervalued. For example, during the Renaissance period, female artists were often relegated to the role of assistants or copyists, and their work was rarely recognized as being equal in quality to that of their male peers.Despite these challenges, women have made significant contributions to the field of public art over the years. Some of the most famous public artworks in the world were created by women, including the Statue of Liberty (designed by Frédéric Auguste Bartholdi and sculpted by Camille Claudel) and the Vietnam Women's Memorial (created by Glenna Goodacre). In recent years, there has been a growing awareness of the importance of promoting gender equity in public art. Many cities and organizations are now launching initiatives to commission more female artists' work and ensure that public art reflects a more diverse range of perspectives.From large-scale installations to intimate street art pieces, women are using their creativity and vision to shape public spaces and challenge societal norms.To talk about this we spoke to Cece Carpio and Meredith Bergmann, 2 amazing women making their impact in art, history, and telling important stories in a public forum.  Enjoy!

As stated in our last episode, Controversial monuments and North Carolina unfortunately go hand in hand. The first Confederate memorial in North Carolina, an unnamed Confederate Soldiers Monument in Fayetteville, was built in 1868, only a few years after the south lost the war. Since then, Confederate memorials have been prominently displayed in the Tar Heel State. Many of these monuments, as is the case with most around the country, are legally protected by a few laws that have gotten in the way of reconciliation. Although perceived as a cut and dry roadblock towards progress, there are still plans of action to make things better for North Carolina citizens who want these monuments taken down. To speak to this, we sat down with James E Williams Jr.  from the N.C. Commission on Racial and Ethnic Disparities in the Criminal Justice System.The N.C. Commission on Racial and Ethnic Disparities in the Criminal Justice System (NC CRED) is an incredible nonpartisan organization that works across professional, political and ideological lines to develop strategies to reduce racial disparities in North Carolina’s juvenile and criminal justice systems. The Monumental Project sat down with Mr Williams to speak on the legal landscape of Confederate monuments, recent cases that have caused controversy and what we can do to make a change on a local level. Enjoy!

North Carolina, similar to Virginia, is a state that’s had their fair share of confederate monuments in the public eye. According to the Southern Poverty Law Center, there are 173 Confederate symbols across the state, 42 of those monuments standing in front of state courthouses. This has created a fair amount of unrest in the state on many levels. One example is Enfield, a town based in Halifax county, in which mayor Mondale Robinson took down a confederate memorial himself and was met with threats on his life from a plethora of conservative hate groups. Clearly, there is a lot of action that needs to be done. This is why we’re starting off the new year with a 2 part episode series on North Carolina.Our first episode takes us to Shaw University, a beautiful university located in Raleigh, North Carolina.  Shaw University is home to a lot of firsts: the first historically Black college in the country to offer a four-year medical program, the first historically Black college in the country to admit women, and the first historically Black college in North Carolina to receive a "A" rating from the State Department of Public Instruction. Needless to say that this school is nothing but an incubator for black success. An integral part of this success, is Dr. Valerie Ann Johnson.Dr. Valerie Ann Johnson is the Dean of Arts, Sciences, and Humanities and Professor of Sociology at Shaw University in Raleigh, North Carolina.  Previously, she was the Mott Distinguished Professor of Women’s Studies and Director of Africana Women’s Studies at Bennett College in Greensboro, North Carolina. Dr. Johnson  also serves as Board Chair for Preservation North Carolina.  Dr. Johnson with Dr. Lynn Harris (Program in Maritime Studies at ECU)  co-edited Excavating the Histories of Slave-Trade and Pirate Ships: Property, Plunder and Loss published by Springer Press (2022).  Dean Johnson is engaged in public participatory science and public humanities serving respectively on the board for the Citizen Science Association and  advisory committee member for the Humanities Action Lab.The Monumental Project sat down with Dr. Johnson to speak on her relationship with Confederate monuments in North Carolina, monuments of upliftment, and how we can correctly preserve pieces of our cultural heritage.

As this year comes to a close, we would like to take the opportunity to reflect on some of the highlights of The Monumental Project. We have 8 exceptional episodes under our belt, speaking to people from all over the country on a variety of different topics inside the umbrella of cultural heritage and monuments of oppression.  We can't wait to see what 2023 brings!Tune in next year as we sit down with more trailblazers who are making an impact in the space of cultural heritage and monuments of oppression.Happy Holidays!

When it comes to cultural roots, the west coast is rich with relevance for so many groups of people. One group in particular is Native Americans. New Mexico is no different, with 23 Native American tribes that are federally recognized in the state. Native American history is celebrated today in museums, the arts, festivals and many other forms of cultural significance. However, one controversial monument still stands. The Kit Carson obelisk is located just two blocks north of the Santa Fe Plaza. Kit Carson is infamous for organizing the "Long Walk," a series of mass execution marches of Diné and Mescalero Apaches in 1863 that resulted in the deaths of about 2,000 individuals.   Although not easily recognizable as such,  with a simple obelisk design, this 20 foot tall statue represents the championing of yet another individual that does not need to be held in this light.  In honor of Native American Heritage Month,  The Monumental Project sat down with Laura Harris, Executive Director of Americans for Indian Opportunity. AIO is a non-profit organization which serves as a catalyst for Native American initiatives all across the country. We spoke on how they started, the current state of Native American issues such as the Carson monument, and what are the best routes to make a change for how we view Native American culture.

US/ICOMOS prides itself on connecting with outstanding leaders in the field of historic preservation and racial justice. Collaboration is a central value to the Monuments Toolkit, and we believe that the more we learn, the better we can serve the American people and our listeners around the world! A prime example of this comes this month, as we spoke with Bonnie McDonald from Landmarks Illinois. As President and CEO of Landmarks Illinois, Bonnie advances the vision, mission and programs of the organization. Bonnie was also instrumental to the Chicago Monuments Project, one of the best city-wide campaigns focused on monuments of oppression.We spoke on the groundbreaking values of Landmark Illinois’, incomplete views of history, and how other cities can tackle this issue with success. Be sure to check the Chicago Monuments Project’s latest report at chicagomonuments.org.

Up to this point, the Monuments Toolkit has sat down with leaders in the academic community, activism community and even politics to gather different approaches to the conversation around monuments of oppression. This month we’ll be speaking to an organization in the artistic community for a different point of view. To many, these monuments are nothing more than representations of dark times in our nation's history. But in the artistic space, these pieces are symbols, that can be conduits for deeper conversations around the lost cause theory, reparations, and how we heal. One art center that is tackling this issue with fearlessness and grace is LAXART, a Los Angeles-based  nonprofit visual art space that promotes developments in contemporary culture through exhibitions, publications, and public programs. Their upcoming exhibition titled “MONUMENTS” will feature decommissioned Confederate monuments displayed alongside existing and newly commissioned works of contemporary art.The Monumental Project had the pleasure of speaking with Hamza Walker and Hannah Burnstein, the creative director and program manager of this groundbreaking and timely exhibit. Hamza Walker is the director of the Los Angeles nonprofit art space LAXART and an adjunct professor at the School of the Art Institute of Chicago. Prior to joining LAXART in 2016, he was director of education and associate curator at the Renaissance Society, a non-collecting contemporary art museum in Chicago, for 22 years where he organized numerous shows and public programming and wrote extensively on the field of contemporary art. Hannah Burstein is an arts researcher, educator, and public programmer based in Los Angeles.  She is currently the Project Manager at LAXART. We hope you enjoy the conversation!

While there are countless examples of controversial monuments around the country, very few have garnered the attention that Richmond has created with Monument Avenue, a fourteen-block-long, tree-lined residential boulevard cutting across central RichmondThe reason for its controversy? Well for over 100 years, the street was riddled with Confederate monuments. Jefferson Davis, Stonewall Jackson, Matthew Fontaine, J.E.B Stuart and of course Robert E Lee would stand tall, looking down on the citizens of Richmond with no realistic removal plan in site.All that drastically changed when George Floyd and Breonna Taylor passed away. After days of heated protests, By July of 2020 many of the monuments were torn down and removed. To many this seems like an open-and-shut case of activism doing its part, but a deeper look reveals more to the story than people may think. Today The Monumental Project sits down with Richmond historian Lexi Cleveland, photojournalist Regina Boone, and Richmond-based entrepreneur Devon Henry on their experiences during the downfall of Monument Avenue. This is the Richmond Story. This is The Monumental Project.

After the murder of George Floyd and Breonna Taylor, citizens of Richmond, Virginia took to the streets to address their problematic statues of confederate figures. Jefferson Davis, Stonewall Jackson, J.E.B. Stuart, Matthew Fontaine and later Robert E. Lee all came down, some from the hands of protesters themselves. To many individuals in Richmond and spectators around the world, this was a wake-up moment in the field of oppressive monuments. Things can change before our very eyes if we speak up and let people know how we feel.A  seminal figure in this entire situation was none other than Richmond Mayor Levar Stoney. As the 80th mayor of Richmond, Virginia, Mayor Stoney was in office in 2020 while all of this was happening. The Monuments Toolkit had the pleasure of sitting down with Mayor Stoney in Richmond for a great 1-on-1 conversation. We spoke about the protests from 2 years ago, the history of Monuments Avenue and steps to reconciliation.

“We've all seen videos of citizens around the country taking matters into their own hands when it comes to monuments of oppression.However, rarely do we hear from these individuals and the communities or organizations they represent. Additionally, what is the history of altering monuments? Is this a new phenomenon, or is this just the latest iteration of a common response to changing times?  Today The Monumental Project sits down 3 important figures in the historic space conversation, both in activism and academia. Art historian Erin Thompson, community organizer Mike Forcia and Commissioner Tami Sawyer will all be giving their opinions on their field of work, their most memorable moments, how they feel about the current state of public demonstrations. And most importantly, what they want to see changed for the future. These are the necessary conversations that can move the discourse forward. This is The Monumental Project.

Here at US/ICOMOS we are intentional about highlighting the current events and statues that are filling the cultural preservation discourse of today. It is our role to provide listeners with stories and narratives that show them what is really happening with monuments of oppression. This won’t stop for as long as we’re around. However, we also understand that there are amazing nonprofits and community action groups that have been doing this work for years. Organizations that have made it their mission to address issues in this space, as well as preserving the history of their communities through intentional preservation. These are the organizations that have paved a way for the Monuments Toolkit, and it would be a shame to not highlight them in some way.This is what we’re doing on The Monumental Project. Every other month in between our narrative episodes, we’ll be sitting down with one organization in the cultural preservation or activism space. We want to hear their stories, how they feel about the current situations at hand, and what they plan on doing in the future. It’s these kinds of conversations that continue to uplift this field for the better. This month we had the opportunity to speak with Wells Todd of Take Em Down Jacksonville. Wells Todd is a native New Yorker and has been involved in the class struggle since the late 1970s. He has lived in Jacksonville for the past 21 years. He traveled to Cuba twice and Grenada in 1982 during its revolutionary period with the National Black Independent Political Party (NBIPP) delegation.Recently he traveled to South Africa. While there he experienced how South Africa is addressing racism and white supremacy since the fall of Apartheid.  He was active in the 1199 Hospital Workers Union and the United Auto Workers Union (UAW).  He is a founding member of the Jacksonville Progressive Coalition that led the movement that changed the name of Nathan Bedford Forrest High School and also pushed for the removal of Angela Corey who was the attorney for the Fourth Judicial circuit court. Over the past 5 year he has been a leader of Take Em Down Jax, working to remove confederate statues, monuments, bridge names and street names that celebrate white supremacy.To connect with the Take Em Down Jax movement, the social handles and contact information is listed below:- Take Em Down Jax on Facebook - IG: @takeemdownjaxEmail address: wellstodd625@gmail.comFor more information please call (904) 477-8979Enjoy the episode!

What does US/ICOMOS even mean? What exactly are we saying when we say “monuments of oppression”? What is re-contextualization? Knowing these answers are crucial for joining us on this experience. Think of these questions as a compass rose, providing the cardinal directions for the journey ahead. To help answer these questions, I want to introduce the Program Director for the Monuments Toolkit, Cequyna Moore!

Welcome to the Monumental Project! As the official trailer for the podcast, take a sneak peek into who we are, the work we are doing this season and why this subject matter is so important. Enjoy!