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|year=1934
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|region=North America
|artist=Ann Rice O’Hanlon,
|subject=Political/Economic/Social Opinion
|confronting_bodies=University of Kentucky
|medium=Painting, Public Art
|date_of_action=November 25, 2015
|location=Lexington, Kentucky, United States of America
|description_of_content=Ann Rice O'Hanlon was a 20th-century American visual artist who painted murals. An alumna of the University of Kentucky, O'Hanlon painted a wall-length mural (fresco) inside the university's Memorial Hall in 1934 as part of the Treasury Relief Art Project with funds from the Works Progress Administration (WPA). The 11 x 38 foot fresco depicts the history of Kentucky through a series of vignettes, including explorers on the frontier, horse racing and scenes of downtown Lexington, the construction of log cabins, fishing off a bridge, passengers riding in a train, and horse training. It includes depictions of African-Americans picking tobacco in the fields, white people dancing to music played by black musicians, and a Native American peering from the woods at a white woman gathering water from a stream.
|description_of_incident=Students of color at the University of Kentucky objected to the mural. In a November 23 statement issued two weeks after a meeting with two dozen African-American students, University President Eli Capilouto related this comment:
 
"One African American student recently told me that each time he walks into class at Memorial Hall he looks at the black men and women toiling in tobacco fields and receives the terrible reminder that his ancestors were enslaved, subjugated by his fellow humans. Worse still, the mural provides a sanitized image of that history."
 
On November 25, 2015, the administration covered the entire fresco in white fabric. Capiluoto referred to the shrouding as an interim action, as a "long-term answer will take some time." Capilouto also created a task force made up of faculty, staff and students.
|description_of_result=In response to the incident, the American poet, novelist, and activist Wendell Berry wrote an op-ed in the Lexington Herald-Leader denouncing the University of Kentucky’s decision:
 
"The president...objects to the fresco on the grounds that it reminds 'one black student... that his ancestors were slaves.' That statement has at least two arresting implications: (1) that black students should not ever be reminded that their ancestors were slaves, and (2) that white students should not ever be reminded that their ancestors were slave owners. Do students, then, study history at our 'flagship university' in order to forget it?"
 
In April 2017, the administration removed the drapery and the mural was once again visible;  after nearly two years under wraps, the task force had concluded that the mural should be displayed, but with accompanying wall text to give historical context to the work. Signage describing its history, including the concerns voiced about it over the years, was added nearby.
 
In an [https://www.kentucky.com/opinion/editorials/article100481602.html Op-Ed], UK President Capilouto stated:
 
“Against that backdrop, the concern, for many, is that the mural does not adequately reflect the violence and inhumanity that many experienced through subjugation and slavery,” he said. “Those questions of intent, context and perception have become part of a larger conversation at UK about racial climate. And, as is so often the case, we’ve been led by students.”
 
In August 2018, [https://www.chronicle.com/article/What-the-U-of-Kentucky-Did/244269? The Chronicle of Higher Education reported] that the University of Kentucky commissioned Philadelphia artist Karyn Olivier to create a work that responds to O’Hanlon’s mural. A committee was formed to solicit a public artwork in response to the mural and surrounding controversy. After issuing an open call to artists for submissions, the committee invited Olivier and another artist to submit final proposals. They selected Olivier’s project. Her work is now installed in the dome of the building's vestibule, to be seen before entering the room that houses O’Hanlon’s mural. The installation covers the domed ceiling in gold leaf, with black and Native American figures from the mural interspersed in the gold field, along with four portraits of influential black and Native American Kentuckians. A quotation from Frederick Douglass is displayed around the dome's lower edge.
|image=UKentucky.jpg
}}
{{DISPLAYTITLE:<span style="font-style: italic;">University of Kentucky Memorial Hall mural</span>}}
[https://www.chronicle.com/article/What-the-U-of-Kentucky-Did/244269? What the U. of Kentucky Did About a Controversial Campus Fresco Depicting Slavery], By Claire Hansen AUGUST 14, 2018
 
[http://ncac.org/blog/shrouding-history-or-protecting-students-university-of-kentucky-covers-1930s-mural Victory: A Year On, University of Kentucky Uncovers Controversial Mural Depicting Slaves, NCAC, BY SVETLANA MINTCHEVA, orig. post Dec 3, 2015; Update: Apr 21, 2017]
 
[http://www.kentucky.com/news/local/education/article140580518.html Controversial UK mural uncovered, this time with context, BY LINDA BLACKFORD, March 24, 2017]
 
[https://ncac.org/censorship-news-articles/confronting-the-past-in-paint Confronting the Past in Pain[t], OCTOBER 7, 2016 BY NCAC STAFF
 
[http://www.theamericanconservative.com/dreher/wendell-berry-vs-political-correctness Wendell Berry vs. Political Correctness, By ROD DREHER, December 1, 2015]
 
[http://www.kentucky.com/opinion/op-ed/article47230635.html Op-Ed: Censors on the flagship, BY WENDELL BERRY, November 30, 2015]
 
[http://www.kentucky.com/opinion/editorials/article100481602.html Moral of UK mural debate: mutual respect: Kudos for uncovering a work of art and unveiling a new commitment to a diverse, inclusive campus], Lexington Herald Leader, Sept 7, 2016
 
[http://ukcc.uky.edu/cgi-bin/dynamo?maps.391+campus+0049 Campus Guide –Memorial Hall (Full image of mural)].
 
 
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What is Censorpedia?
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<p>Censorpedia is a crowdsourced online database of censorship cases within the arts and in culture. It is aimed at those researching censorship, at activists working for freedom of expression and at artists and other cultural producers whose expression has been subject to censorship or attempted censorship.</p>
<p>Censorpedia is a crowdsourced online database of censorship cases within the arts and in culture. It is aimed at those researching censorship, at activists working for freedom of expression, and at artists and other cultural producers whose expression has been subject to censorship or attempted censorship.</p>
<p>Censorpedia documents censorship incidents by providing the who, what, when, where and why. By providing a repository of information about what is vulnerable to censorship and about the strategies and tactics that have defeated previous’ censorship attempts, Censorpedia aids the fight for free expression.</p>
<p>Censorpedia documents censorship incidents by providing the who, what, when, where, and why. By providing a repository of information about what is vulnerable to censorship and about the strategies and tactics that have defeated previous’ censorship attempts, Censorpedia aids the fight for free expression.</p>
<p>Researchers can search for a specific case, year or keyword using the search box, as well as browse by [[:Category:Medium|'''medium''']], by [[:Category:Subject|'''grounds for censorship''']], or explore a [[Special:Randompage|'''random case''']].</p>
<p>Researchers can search for a specific case, year, or keyword using the search box, as well as browse by [[:Category:Medium|'''medium''']], by [[:Category:Subject|'''grounds for censorship''']], or explore a [[Special:Randompage|'''random case''']].</p>
<p>Activists can search for [[:Category:Ongoing_Case|'''ongoing cases''']] or [[Form:Censorship_incident|'''contribute a case''']] that is ongoing or recently resolved.</p>
<p>Activists can search for [[:Category:Ongoing_Case|'''ongoing cases''']] or [[Form:Censorship_incident|'''contribute a case''']] that is ongoing or recently resolved.</p>
<p>Artists and cultural producers are similarly invited to [[Form:Censorship_incident|'''add cases''']] they are directly involved with or are familiar with first hand.</p>
<p>Artists and cultural producers are similarly invited to [[Form:Censorship_incident|'''add cases''']] they are directly involved with or are familiar with firsthand.</p>


<p>Censorpedia builds on the landmark 1994 art project [http://anthology.rhizome.org/the-file-room '''The File Room'''], initiated by Muntadas.</p>
<p>Censorpedia builds on the landmark 1994 art project [http://anthology.rhizome.org/the-file-room '''The File Room'''], initiated by Muntadas.</p>
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<p> [[Censorpedia:Terms_of_Service|Censorpedia Terms of Use]]</p>
<p> [[Censorpedia:Terms_of_Service|Censorpedia Terms of Use]]</p>
 
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Latest revision as of 21:06, 14 July 2023

→ Add a Case

Featured Case: Sewol_Owol_(painting)


Park1.jpg

Artist: Hong Seong-dam

Year: 2014

Date of Action: August, 2014

Region: Asia

Location: Gwangju Biennale, Gwangju, South Korea

Subject: Political/Economic/Social Opinion

Medium: Painting

Confronting Bodies: City government of Gwangju, South Korea

Description of Artwork: A 32-foot-wide painting, which portrays, among other elements, Korean president Park Geun-hye as a maniacal scarecrow facing off against angered parents of children who died in the sinking of the MV Sewol ferry in April, 2014, a national tragedy that has had huge political repercussions. Park is being held back by former president Park Chung-hee (her late father), and her chief of staff Kim Ki-choon.

The Incident: The Biennale Foundation initially claimed that the work’s exclusion from the exhibition had nothing to do with politics and was purely logistical—Hong simply submitted the work late. But it was later revealed that the decision to withhold the painting from the 20th anniversary exhibition was in fact prompted by the city of Gwangju, which sponsors the exhibition to the tune of $2.4 million for this year’s Biennale. The city government had asked that Hong change the painting.

Results of Incident: In response to the censorship of Hong’s work, other artists featured in “Sweet Dew” removed their works from the exhibition and its curator, Yun Beom-mo, resigned. The president of the Gwangju Biennale Foundation, Lee Yong-woo, also resigned. The case has provoked international protests and has been covered widely.

Source:
• http://news.artnet.com/art-world/gwangju-biennale-president-resigns-over-censorship-82587



What is Censorpedia?

Censorpedia is a crowdsourced online database of censorship cases within the arts and in culture. It is aimed at those researching censorship, at activists working for freedom of expression, and at artists and other cultural producers whose expression has been subject to censorship or attempted censorship.

Censorpedia documents censorship incidents by providing the who, what, when, where, and why. By providing a repository of information about what is vulnerable to censorship and about the strategies and tactics that have defeated previous’ censorship attempts, Censorpedia aids the fight for free expression.

Researchers can search for a specific case, year, or keyword using the search box, as well as browse by medium, by grounds for censorship, or explore a random case.

Activists can search for ongoing cases or contribute a case that is ongoing or recently resolved.

Artists and cultural producers are similarly invited to add cases they are directly involved with or are familiar with firsthand.

Censorpedia builds on the landmark 1994 art project The File Room, initiated by Muntadas.

For more information about censorship visit our Annotated Bibliography


Feel free to:

Browse censorship cases by:


Censorpedia Terms of Use
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