This year a sculpture by Sam Durant entitled Scaffold was erected in a sculpture park managed by Walker Art Center, Minneapolis. The wooden sculpture juxtaposed elements of playground-activity structures and gallows. One minor aspect of Scaffold referred to the hanging of Dakota Native Americans in 1862 as part of struggles between the Dakota Nation and the American government. That reference had been missed until it was pointed out, at which time a campaign to remove the sculpture was begun by the Dakota. “This is a murder machine that killed our people because we were hungry,” said a member of the Dakota Nation, equating Scaffold with an actual gallows that hanged members of the Dakota. In May the museum destroyed Scaffold and the artist renounced his work.
This year there was a protest by some black artists against the display at the Whitney Biennial of a painting of murdered black activist Emmett Till. Black activists lobbied to have the painting by Dana Schutz, a white artist, removed as offensive and hurtful. “The subject matter is not Schutz’s,” said one protestor, claiming ownership and authority over the representation of a historical event.
In these two cases, activists claimed ownership over aspects of history in order to suppress art works. In one case it resulted in the destruction of art. Pressure groups have noticed the weakness of curators, administrators and politicians and their unwillingness to protect art from censorship. Sympathetic towards notions of social justice, administrators sometimes submit to emotional blackmail by groups which demand censorship…”
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