What is an appropriate monument for the current city of Philadelphia? That was the question posed by the curators, artists, scholars, and students who comprise the Philadelphia-based public art and history studio Monument Lab. And in 2017, along with Mural Arts Philadelphia, they produced and organized a groundbreaking, city-wide exhibition of temporary, site-specific works that engaged directly with the community. The installations, by a cohort of diverse artists considering issues of identity, appeared in iconic public squares and neighborhood parks with research and learning labs and prototype monuments. Monument Lab is a fabulous compendium of the exhibition and a critical reflection of the proceedings, including contributions from interlocutors and collaborators. The exhibition and this handbook were designed to generate new ways of thinking about monuments and public art as well as to find new, critical perspectives to reflect on the monuments we have inherited and to imagine those we have yet to build. Monument Lab energizes acivic dialogue about place and history as forces for a deeper questioning of what it means to be Philadelphian in a time of renewal and continuing struggle. Contributors: Alexander Alberro, Alliyah Allen, Laurie Allen, Andrew Friedman, Justin Geller, Kristen Giannantonio, Jane Golden, Aviva Kapust, Fariah Khan, Homay King, Stephanie Mach, Trapeta B. Mayson, Nathaniel Popkin, Ursula Rucker, Jodi Throckmorton, Salamishah Tillet, Jennifer Harford Vargas, Naomi Waltham-Smith, Bethany Wiggin, Mariam I. Williams, Leslie Willis-Lowry, and the editors. Artists: Tania Bruguera, Mel Chin, Kara Crombie, Tyree Guyton, Hans Haacke, David Hartt, Sharon Hayes, King Britt and Joshua Mays, Klip Collective, Duane Linklater, Emeka Ogboh, Karyn Olivier, Michelle Angela Ortiz, Kaitlin Pomerantz, RAIR, Alexander Rosenberg, Jamel Shabazz, Hank Willis Thomas, Shira Walinsky and Southeast by Southeast, and Marisa Williamson.

Built by the Boulton family between 1817 and 1820, the Grange is Toronto's oldest remaining brick house. During the nineteenth century, the Grange was at the centre of the city's social and political activity. Today, with its collection of furniture, artifacts, and art, it is an historic house museum and part of the Art Gallery of Ontario. In her fascinating essay, award-winning Canadian historian Charlotte Gray brings to life the saga of the Grange, the home of the Boultons and of Goldwin Smith in the 19th century. Devoting as much attention to the formidable women who ran the household as to the men who were key figures in the development of the city, she offers a fascinating portrait of a place and a time. Complementing Gray's essay are shorter essays and reproductions of works commissioned from artists Rebecca Belmore, Luis Jacob, Elizabeth LeMoine, Josiah McElheny, Elaine Reichek, and Christy Thompson that offer inventive responses to a complicated past.

Why is the broad avenue leading to St. Peter's called the Street of Reconciliation? What does the Via dei Fori Imperiali--where the ancient imperial forums lie--have to do with Mussolini? How does the name Piazza Navona disclose what is hidden under the square? Via Roma tells Rome's secrets one street at a time. In this brilliant guide, Willemijn van Dijk takes readers across time and place as they wander along the roads of the ancient Italian capital. Street by street, fifty of them, van Dijk allows the stones to reveal their origins, their makers, the significance of their names, and the history they continue to echo. Caesars, popes, dictators, mafia dons, generals, philosophers, and artists. Architecture, ideas, romance, food, and intrigue. Rome is the eternal city to which all roads lead, and van Dijk unfolds the city's rich past through those roads. Via Roma is an indispensable book for any and every inquisitive lover, and visitor, of the city along the Tiber.

Installed at Plymouth, Massachusetts, in 1921 to commemorate the tercentenary of the landing of the Pilgrims, Cyrus Dallin's statue Massasoit was intended to memorialize the Pokanoket Massasoit (leader) as a welcoming diplomat and participant in the mythical first Thanksgiving. But after the statue's unveiling, Massasoit began to move and proliferate in ways one would not expect of generally stationary monuments tethered to place. The plaster model was donated to the artist's home state of Utah and prominently displayed in the state capitol; half a century later, it was caught up in a surprising case of fraud in the fine arts market. Versions of the statue now stand on Brigham Young University's campus; at an urban intersection in Kansas City, Missouri; and in countless homes around the world in the form of souvenir statuettes. As Lisa Blee and Jean M. O'Brien show in this thought-provoking book, the surprising story of this monumental statue reveals much about the process of creating, commodifying, and reinforcing the historical memory of Indigenous people. Dallin's statue, set alongside the historical memory of the actual Massasoit and his mythic collaboration with the Pilgrims, shows otherwise hidden dimensions of American memorial culture: an elasticity of historical imagination, a tight-knit relationship between consumption and commemoration, and the twin impulses to sanitize and grapple with the meaning of settler-colonialism.

In the past few decades, thousands of new memorials - to executed witches, victims of terrorism, and dead astronauts, along with those that pay tribute to civil rights, organ donors, and the end of Communism - have dotted the American landscape. Equally ubiquitous, though until now less the subject of serious inquiry, are temporary memorials: spontaneous offerings of flowers and candles that materialize at sites of tragic and traumatic death. In "Memorial Mania", Erika Doss argues that these memorials underscore our obsession with issues of memory and history, and the urgent desire to express - and claim - those issues in visibly public contexts. Doss shows how this desire to memorialize the past disposes itself to individual anniversaries and personal grievances, to stories of tragedy and trauma, and to the social and political agendas of diverse numbers of Americans. By offering a framework for understanding these sites, Doss engages the larger issues behind our culture of commemoration. Driven by heated struggles over identity and the politics of representation, Memorial Mania is a testament to the fevered pitch of public feelings in America today.

A study of American attempts to come to terms with the legacy of the Vietnam War, this book highlights the central role played by Vietnam veterans in shaping public memory of the war. Tracing the evolution of the image of the Vietnam veteran from alienated dissenter to traumatised victim to noble warrior, Patrick Hagopian describes how efforts to commemorate the war increasingly downplayed the political divisions it spawned in favour of a more unifying emphasis on honouring veterans and promoting national "healing."

Im Fruhjahr 1797 erwarb der Schriftsteller Christoph Martin Wieland (1733-1813) das Gut Ossmannstedt, das er bis April 1803 mit seiner grossen Familie bewohnte und bewirtschaftete. Hier entstand sein letzter grosser Roman, "Aristipp und einige seiner Zeitgenossen". Wieland empfing hier zahlreiche Besucher, neben Goethe, dem Ehepaar Herder und der Herzogin Anna Amalia, die aus dem nahen Weimar kamen, seine Jugendliebe Sophie von La Roche mit ihrer Enkelin Sophie Brentano, die Schriftsteller Jean Paul, Heinrich von Kleist, Johann Gottfried Seume und viele mehr. Der Band erzahlt die Geschichte von Haus und Park des Wielandguts Ossmannstedt und folgt der Ausstellung im Wieland-Museum, die in Leben und Werk von Christoph Martin Wieland einfuhrt und seine Bedeutung fur die deutsche Literatur zeigt.