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416:"It reminds me of the 'grand finale' of our old country tableau-exhibitions, in which finale (illuminated by red fire) we would try to introduce every character that had been used in the preceding 'pictures'—from 'Mother Goose' to the 'Angel of the Resurrection,' and from 'Columbus' to 'Uncle Tom and Eva'—adding, of course, 'Uncle Sam' and 'Columbia' with the Flag, and as many other characters as we were able to costume and could crowd on the stage." "I feel an impulse to seize this 'super' by his dangling foot and slide him gently off into oblivion—or else say to him, as sternly as I can: 'Awake, awake, put on thy strength ... shake thyself from the dust; arise.' You deserve a place at Liberty's side, not at her feet. Assist her soberly to uphold the Flag, while others rejoice; for, but for your strong right arm the Flag would even now perhaps be trailing in the dust!"
241:, which offers the sculpture its namesake. For Wilson, however, the phrase references Africa and the Black Diaspora. She is flanked by a blacksmith sitting on an anvil, who represents industry; a sheaf of wheat, which represents agriculture; and a homecoming of soldiers, whose lack of headgear symbolically illustrates the end of the war. At her feet sits the freed African American male figure, whose positioning reflects a common trope in nineteenth-century American sculpture that depicts African Americans kneeling in gratitude while holding broken manacles or discarded whips. These post-Reconstruction era of the United States depictions of formerly enslaved people, often shown with uncertain, upward gazes aimed toward their liberators, minimized African American efforts and sacrifices in obtaining freedom and instead interpreted the
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level. Wilson explained that promoting discourse in a large city like
Indianapolis is much different than in a museum, which is a more finite environment. In earlier community talks in 2009 and early 2010, Wilson and the CICF had had little success in creating an ongoing dialogue. It wasn't until the discussion around the artwork took a more controversial turn that a larger portion of the city began to take notice. Wilson explained, "With a city, you realize—or I have come to realize—that as many groups as you speak to there are other groups. You can't ever reach everyone. So I’m just really thrilled that there’s engagement and talk about art."
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of the
American Civil War, the American Revolution, the War of 1812, the Spanish–American War and the Mexican–American War. Some suggest that with the passage of time the commemorative nature of war memorials has been replaced with a more utilitarian purpose, such as city beautification. Consequently, the Soldiers' and Sailors' Monument is said to symbolize both the city of Indianapolis and the state of Indiana. While others argue that there is nothing more invisible than monuments, some art historians suggest that art can be utilized as a vehicle for racist ideology.
189:, and mine is a sculpture. It’s not a monument. It's not of a specific person. And I felt that my project should be seen as an artwork, rather than a monument. With the notion that this would be a catalyst for asking the question, and then following up that, with why are there no other images of African Americans in monument form—and if they were to be done, they should be done at the Statehouse and other locations."
237:, a formerly enslaved African American man, is part of a 250-ton sculpture known as the Peace group, which was designed by Herman Matzen and carved by German sculptor Rudolph Schwarz from fifty five separate blocks of limestone. In the center of the Peace group, a female figure known as both "Liberty" and "Angel of Peace" holds a Union shield and a flag wrapped in an olive branch. On the shield are the words
115:"Rather than creating a statue of a contemporary person as the “new heroic African American” for Indiana, it was more interesting and appropriate to reanimate the existing image. I wanted to give this nameless man a purpose and his own place in Indianapolis. It is also a vehicle for the populous to notice him, ask the questions I have asked, and to ponder the history of Indiana and Indianapolis."
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juxtaposition of evocative objects forces the viewer to question the biases and limitations of cultural institutions and how they have shaped the interpretation of historical truth, artistic value, and the language of display. Wilson describes himself as of "African, Native
American, European and Amerindian" descent.
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cities. The grant was to be used to fund part of Wilson's commission as well as public outreach about the artwork. This outreach was to consist of discussions led by local art educators and the
Greater Indianapolis Progress Committee's Race and Cultural Relations Leadership Network, with each session
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Following the meeting, Wilson told reporters he felt "blindsided" and "saddened" by the community response. Yet Wilson underscored the value of hearing viewpoints from the sculpture's opponents: "Having dialogue, having the discussion happen, having people tell me what they thought was really a good
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After an increase in public opposition to the proposed artwork in
September 2010, an additional meeting was organized on October 19 at the Madame Walker Theatre. It was at this point that the discussion became more controversial in nature and began to attract attention from arts critics on a national
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because of its prominence in
Indianapolis architecture in the late nineteenth century and to reflect the state's geological heritage. Like the Soldiers and Sailors Monument, many official buildings and monuments in downtown Indianapolis are constructed with Indiana limestone. After the figure is cut
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In his visits to
Indianapolis, Wilson found that there was only one, unnamed African American represented in the city's many memorials and sculptures. The formerly enslaved African American figure appears at the base of the Indiana Soldiers' and Sailors' Monument, a 284 ft. 6 in. commemoration
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Wilson hopes that the proximity of the proposed location for the artwork to the
Soldiers' and Sailors' Monument will encourage visitors to think about the relationship between the two sculptures. In Wilson's words, "I try to bring the invisible into view." One of the sites available on the Cultural
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to members of his
Cabinet. However, due to an increase of public opposition to the project beginning in September 2010, the future of the statue was discussed in a series of community meetings in 2011. On December 13, 2011 the Central Indiana Community Foundation announced that the project would be
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Due to the escalating debate, the
Central Indiana Community Foundation (CICF) organized an additional talk between Wilson and the Indianapolis community on October 19, 2010 at the Madam Walker Theatre. After Wilson presented a slideshow of his previous work, the meeting became heated when a small,
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The sculpture was planned to be located on the Indianapolis Cultural Trail at the northeast corner of Delaware and Washington streets, near the City-County Building. The site was selected by Wilson for its visibility from all angles on the Cultural Trail and its lack of a visual point of interest.
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Once isolated from the Soldiers' and Soldiers' Monument, the sculpture was intended to sit atop a granite, three-tier pedestal that would have stood six feet above the ground. This base was designed to complement the materials and design present in the City-County Building's civic plaza as well as
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thing." In an interview with modern art critic Tyler Green, Wilson further elaborated, "Everyone in Indianapolis has been great to me and respectful and thrilled with what I do, but even people who are against (E Pluribus Unum) seem to still respect me and my work. They just don’t like this one."
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Following the talk at the Madam Walker Theatre, Wilson appeared on the Amos Brown radio show to continue to dialogue with the community. The majority of the callers supported the artwork. Some suggested that the artwork was better suited for a museum, where visitors could choose to see his work,
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In 2009 the African American figure on the Soldiers and Sailors Monument was digitally scanned to create a three-dimensional image. The process of creating a computer model was completed in one evening using a hand-held laser scanning system. The data will be sent to a computer-controlled stone
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Wilson's work examines, questions, and deconstructs the traditional display of art and artifacts in museums. With the use of new text panels, sounds, lighting, and non-traditional pairings of objects, Wilson leads viewers to recognize that changes in context create changes in meaning. Wilson's
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into the development of his artworks. He first considers projects with a connection to the culture and history of a place and then engages in talks with the museum or community that he's working with in order to enhance the work's meaning within that context. In the case of
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in the city of Indianapolis rather than focus on Wilson's work. Indianapolis Cultural Trail curator Mindy Taylor Ross stated, "It was just one of those situations where there are hundreds of people there and the loudest voices get heard and everyone else gets drowned out."
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lifted upward in the right hand of the formerly enslaved figure. The multicolored flag was a composite of African flags and the African diaspora and was inspired by the designs of African quilts and African fabric. The positioning of the flagpole was inspired by the
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limited to 20 participants. The $ 50,000 grant was to be returned to the Joyce Foundation if the sculpture is not created. In December 2011, the Central Indiana Community Foundation held a press conference to announce cancellation of the project.
437:, a historically black newspaper, that sparked the controversy surrounding the sculpture. The editorial stated that the sculpture is not an empowering or uplifting image for the African American community and likened the sculpture to a black
412:(1916), Murray charges that with the symbolic and figurative overload of the Peace group and its sister composite, the War group on the east facade of the monument, the African American figure appears as an offensive, last-minute addition:
280:. A total of $ 2 million has been invested for new public artwork along these cultural districts in Indianapolis. The curatorial advisory committee for the Cultural Trail is composed of representatives from the Indianapolis Museum of Art,
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organized group began to voice their opposition to the artwork. Opponents rejected Wilson's image of a semi-nude sculpture as reflective of 21st-century African Americans, and the discussion quickly transitioned into deeper issues of
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Wilson is known for his practice of "mining the museum" for objects that he can recontextualize in order to question issues of representation and narrative voice. He spent time in Indianapolis in 1993 when he created a show for the
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focused attention on the institutional framing of cultural difference. As an artist, Wilson creates shifts in meaning by manipulating the context of existing objects rather than physically altering the objects themselves.
408:(1859–1950), an African American art historian who earned his living as a typesetter and as a lecturer, offered an early condemnation of Indianapolis' representation of African Americans in public art. In
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Wilson has said, "It's part of my practice to use the same image to make that same point rather than to make a new image. I don't believe you forget the old image until you really deal with it."
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Funded solely by private donations and fundraising by the Central Indiana Community Foundation (CICF), the sculpture was scheduled to be unveiled on September 22, 2011, the 149th anniversary of
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as "the smartest, most ambitious public art project currently under consideration in America." In December 2010, Green included the proposed work on the Modern Art Notes year-end top ten list.
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to a small crowd of local students and community members. The following year Wilson returned to Indianapolis for further public outreach, including an event in April 2010 at
132:. The figure would have remained seated but tilted forward in an upright position. Additionally, Wilson planned to substitute a flag of his own design for the pair of broken
368:, Wilson encouraged research about the African American experience in Indianapolis and incorporated public outreach in order to educate the community and promote dialogue.
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Some opponents of the artwork's location are concerned about the statue's close proximity to the Marion County Jail, pointing to current racial disparities in mass
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titled "The Spiral of Art History." It was at this time that he noticed the abundance of monuments in Indianapolis, which would later inspire his vision for
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A series of public discussions took place in 2009 and 2010, beginning with his first introduction of the project on February 25, 2009. Held at the historic
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496:. The annual Joyce Foundation grant supports community engagements and the development of dance, music, theater, and visual arts by artists color in major
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Those that disapprove of Wilson's use of the freed slave have shared a number of other suggestions for subject matter, such as a sculpture of
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at 200 West Washington Street in Indianapolis. However, Wilson decided against placing his artwork among monuments depicting important
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260:. The Cultural Trail, a $ 63 million project, is an urban pedestrian and bike path connecting the city's five cultural districts:
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in downtown Indianapolis. Wilson submitted only one entry to the Indianapolis Cultural Trail committee and the design proposal of
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in 1999 and the Larry Aldrich Foundation Award in 2003. He represented the United States at the Biennial Cairo in 1992 and the
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named after the Latin phrase meaning "From many, one," was to be a re-contextualized reproduction of the nameless, semi-nude
441:. The debate continued on the local Amos Brown radio show, leading it to gain even more attention on local news broadcasts.
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In the past, others have voiced their opinions of the enslaved figure depicted on the Soldiers and Sailors Monument.
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Modern art critic Tyler Green has praised Wilson for not shying from the intense public dialogue, and has described
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Multiple copies of Wilson's flag will be constructed by professional flag makers if needed for replacement. The
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had been paid. In January 2011, the sculpture was awarded $ 50,000 in project support from the Chicago-based
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217:. This is the first time that Wilson has "mined" a city's monuments in order to create a public artwork.
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cutting machine for a rough cut of the sculpture in Indiana limestone. This material was chosen for
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Detail of the west facade of the Soldiers' and Sailors' Monument known as the Peace group (ca. 1904)
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district in Indianapolis, Wilson discussed his prior work and unveiled the digital rendering for
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was placed on hold in October 2010. At that time $ 51,000 of Wilson's $ 325,000 commission for
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provide seating for visitors. At night, a series of lights were to illuminate the sculpture.
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Brad Lechiltner (writer, camera work); J.D. Schaumberg (writer, reporter) (November 2009).
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was commissioned by the Central Indiana Community Foundation (CICF) to be included on the
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1022:. The Indianapolis Cultural Trail: A Legacy of Gene and Marilyn Glick. Archived from
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The replica of the African American figure was to be 10 x 12 ft. and created in
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Allen, Jane Ingram (2003). "Shifts in meaning: A conversation with Fred Wilson".
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1365:"AUDIO: Amos Interviews Fred Wilson, Designer Of Cultural Trail "Slave" Statue"
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1290:"Passion And Emotion On AWA Over Proposed Sculpture Of A Freed Slave Downtown"
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Fred Wilson, interview with WTLC-AM radio talk show, "Afternoons with Amos.",
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AUDIO: Amos Interviews Fred Wilson, Designer Of Cultural Trail "Slave" Statue
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In September 2010, an Indianapolis history teacher wrote an editorial to the
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from the stone, an artist will refine the sculpture's more detailed areas.
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War memorials as political landscape: The American experience and beyond
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1388:"Will America's most promising public art project move forward? TBD"
1108:. West Lafayette, IN: Purdue Fast Track. Event occurs at 0:15-1:25
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The Art of Exclusion: Representing Blacks in the Nineteenth Century
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Subject to display: Reframing race in contemporary installation art
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Swanson, Erin. "On the Cultural Trail with Fred Wilson, Part 2".
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Amos Brown(radio host), Fred Wilson (artist) (October 20, 2010).
550:"Public may decide fate of proposed sculpture for Cultural Trail"
258:
Indianapolis Cultural Trail: A Legacy of Gene & Marilyn Glick
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994:"CICF Receives Joyce Award for Fred Wilson Public Art Project"
579:"Cultural Trail leaders cancel plans for controversial statue"
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male sculpture seated at the base of the west facade of the
688:"Art imitating art: Sculpture pays homage to Indy monument"
1339:"Fred Wilson's "E Pluribus Unum": Art worth arguing about"
1316:"Critics of downtown sculpture say statue looks 'ape-ish'"
1222:"The very public debate over Fred Wilson's Indy sculpture"
347:(Iwo Jima Memorial) will be constructing the flagpole for
1131:. Bloomington, IN: Indiana University Press. p. 28.
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Written in stone: Public monuments in changing societies
343:, New York foundry that fabricated the flagpole for the
1188:. Central Indiana Community Foundation. Archived from
1443:. Joyce Foundation. January 25, 2011. Archived from
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Eiteljorg Museum of American Indians and Western Art
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922:"Sins of Omission: Fred Wilson's Mining the Museum"
614:. Lanham, MD: WLTC/Radio One. Event occurs at 9:20
465:or a modern African American family. In defense of
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906:. Washington, D.C.: Smithsonian Institution Press.
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387:and in August at the Indianapolis Museum of Art.
286:Indiana University–Purdue University Indianapolis
1249:Emancipation and the Freed in American Sculpture
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800:. LIN Television Corporation. Archived from
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296:, and other cultural organizations in city.
181:and events related to the State of Indiana:
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519:"Artist hopes his work will spur questions"
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880:. Durham, NC: Duke University Press Books.
173:Trail was located near the grounds of the
141:, also known as the Iwo Jima Memorial, in
120:—Fred Wilson, in his early description of
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577:Kathleen McLaughlin (December 13, 2011).
458:rather than in a permanent public space.
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794:"Sculpture of slave draws vocal critics"
686:Williams-Gibson, Jessica (Sep 2, 2010).
185:"... they're of so-called great people,
52:at the northeast corner of Delaware and
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1469:. The Joyce Foundation. Archived from
1247:Murray, Freeman Henry Morris (2010) .
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719:Arts Council of Indianapolis (2010).
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548:Lindquist, David (January 25, 2011).
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856:"Colonel Eli Lilly Civil War Museum"
110:was accepted without modification.
1763:Outdoor sculptures in Indianapolis
996:. January 25, 2011. Archived from
929:Slought Salons for a New Criticism
517:David Lindquist (April 13, 2010).
167:incarceration in the United States
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1337:Hoppe, David (October 29, 2010).
359:Wilson often incorporates social
312:MacArthur Foundation Genius Grant
151:Like his previous installations,
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1547:Canal and White River State Park
1129:The encyclopedia of Indianapolis
1075:"Rena Bransten Gallery articles"
278:Canal and White River State Park
245:as an act of white benevolence.
40:is a public artwork proposed by
1773:Sculptures of African Americans
1768:Limestone sculptures in Indiana
1251:. Nabu Press. pp. 120–129.
1045:Rena Bransten Gallery biography
920:Stein, Judith (November 2003).
750:. Cambridge, MA: The MIT Press.
721:"E Pluribus Unum (Fred Wilson)"
650:"Fred Wilson Early Description"
282:Herron School of Art and Design
104:Soldiers' and Sailors' Monument
1495:Fred Wilson biography on Art21
746:Gonzalez, Jennifer A. (2008).
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583:Indianapolis Business Journal
421:Freeman Henry Morris Murray,
1531:Indianapolis Cultural Trail
406:Freeman Henry Morris Murray
385:Crispus Attucks High School
249:Indianapolis Cultural Trail
50:Indianapolis Cultural Trail
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1127:Bodenhammer, D.J. (1994).
1105:Circle City Monument Story
876:Levinson, Sanford (1998).
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211:Indianapolis Museum of Art
79:'s initial reading of the
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1690:Prairie Modules 1 & 2
1415:"MAN's 2010 top ten list"
1268:The Indianapolis Recorder
834:. New York, NY: Praeger.
345:Marine Corps War Memorial
243:Emancipation Proclamation
139:Marine Corps War Memorial
81:Emancipation Proclamation
1726:Indiana Pacers Bikeshare
1264:"Sculpture is appalling"
498:Midwestern United States
48:to be located along the
1669:Looking Through Windows
826:Mayo, James M. (1988).
233:The original figure of
1615:White River State Park
1605:Richard G. Lugar Plaza
898:Boime, Albert (1990).
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200:Background information
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84:temporarily canceled.
1467:"Culture: Guidelines"
1050:June 4, 2011, at the
692:Indianapolis Recorder
554:The Indianapolis Star
434:Indianapolis Recorder
228:
1590:American Legion Mall
1063:PBS art:21 biography
938:on 28 September 2011
447:institutional racism
373:Madam Walker Theatre
306:Fred Wilson (artist)
294:Indiana State Museum
266:Massachusetts Avenue
58:City-County Building
1447:on January 28, 2011
1441:"2011 Joyce Awards"
958:"Art is in the Air"
804:on 24 November 2010
727:on October 25, 2010
1539:Cultural districts
1473:on 4 February 2011
1186:FredWilsonIndy.org
1182:"Images and Video"
1026:on 31 January 2011
1000:on 7 February 2011
792:Dewberry, Deanna.
400:Historical context
310:Wilson received a
274:Wholesale District
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175:Indiana Statehouse
56:streets, near the
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1262:Robinson, Leroy.
1162:Missing or empty
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1562:Market East
1451:January 25,
1398:January 25,
1371:October 20,
1294:Praise Indy
1232:October 27,
1112:February 4,
971:November 3,
772:(4): 40–45.
618:February 3,
439:lawn jockey
427:Controversy
326:Fabrication
221:Peace group
46:Fred Wilson
28:Fred Wilson
1757:Categories
1625:Public art
1477:5 February
1421:. Art Info
1394:. Art Info
1348:6 February
1273:6 February
1228:. Art Info
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505:References
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1572:Wholesale
766:Sculpture
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528:April 16,
395:Reception
318:in 2003.
187:great men
1610:The Idle
1567:Mass Ave
1155:cite web
1147:Examiner
1048:Archived
419:—
361:dialogue
341:Brooklyn
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179:Hoosiers
160:Location
134:manacles
42:American
1743:Commons
1714:Related
1318:. Fox59
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66:Indiana
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272:, the
88:Design
24:Artist
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