{"id":8802,"date":"2020-05-25T09:38:41","date_gmt":"2020-05-25T09:38:41","guid":{"rendered":"https:\/\/craighavens.com\/?page_id=8802"},"modified":"2022-09-02T01:42:58","modified_gmt":"2022-09-02T01:42:58","slug":"doctoral-thesis-exhibition-countermonumental-strategies","status":"publish","type":"page","link":"https:\/\/craighavens.com\/index.php\/doctoral-thesis-exhibition-countermonumental-strategies\/","title":{"rendered":""},"content":{"rendered":"

\"\"
\n\tFreshly-turned Soul<\/em>
\n\tWaterloo Battlefield, Braine-l'Alleud, Belgium.
\n\tPigment Print on Paper. Edition of 2 \/ AP 1, 110 x 148 centimeters.
\n\tCourtesy of 50°49'19.50''N 4°21'25.53''E galerie de l'erg, Brussels.<\/span><\/p>\n

 <\/p>\n

On the Periphery of Public Space<\/span><\/strong>
\n\tPhotography As Countermonument<\/em><\/p>\n

Monuments are historically concerned with claiming a ground that cannot be challenged – seeking to maintain assumptions of singularity, centralization, legacy and perpetuity. The Countermonumental<\/em> perspective, however, embraces and employs multiplicities, peripheries, dispersal and impermanence.<\/p>\n

These works represent the uprooting and reinterpretation of physical monumental structures which were originally erected to be seen in a clearly prescribed manner. This is accomplished via the simple repositioning of the Camera’s perspective in relation to the Monument.<\/p>\n

No hammers, chisels, building materials, cranes or power equipment are necessary to reinterpret or re-contextualize the monuments depicted. Even so, these physical tools of change are often visually referenced in the work in order to compare the Camera as a tool of monument-making and the physical act of constructing and deconstructing monumental structures.<\/p>\n

Through the act of photography, monuments can be redefined and repurposed in order to expose the structural influence of cultural memory and historical narrative. The following image gallery presents a selection of artworks resulting from research conducted for the doctoral thesis Countermonumental Strategies: On the Periphery of Public Space<\/em>.<\/p>\n

In acknowledgement of this research and associated artworks, the title of PhD in Arts and Sciences of Art was awarded to Craig Havens by the ED20 Joint Doctoral Program in collaboration with Ecole de Recherche Graphique, Brussels (ERG) and Université de Louvain (UCL) on June 9, 2020.<\/span><\/em><\/p>\n

 <\/p>\n

\"\"
\n\tButte de Leon & Dirtpile<\/em>
\n\tWaterloo Battlefield, Braine-l'Alleud, Belgium.
\n\tPigment Print on Paper. Edition of 2 \/ AP 1, 110 x 148 centimeters.
\n\tCourtesy of 50°49'19.50''N 4°21'25.53''E galerie de l'erg, Brussels.<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tSongs For Future Revolutions (Mirrored Defense)<\/em>
\n\tSoviet War Memorial (Treptower Park), Berlin, Germany
\n\tPigment Print on Paper in collaboration with David Evans. Edition of 3 \/ AP 1, 50 x 148 centimeters<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tWe Tourists Til The End<\/em>
\n\tZabriskie Point Overlook Access Ramp
\n\tDeath Valley National Park, California, United States. 
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeters<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tFlags & Tar Pits<\/em>
\n\tMiracle Mile, Los Angeles, California, United States. 
\n\tPigment Print on Paper. Edition of 2 \/ AP 1, 110 x 148 centimeters.<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"<\/a>Something To Really Cry About<\/em>
\n\tDai Lo Brick Works, Hanoi City, Vietnam
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 300 centimeters<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tThe Lustgarten (Everybody Knows Our Cities Were Built To Be Destroyed)<\/em>
\n\tReconstruction of the Berliner Schloss, Germany \/ First Constructed 1442 \/ Destroyed 1950 \/ Reconstruction 2019
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeters<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tNot The Man They Think I Am At Home<\/em>
\n\tPromotional Display of the Embassy of Democratic People's Republic of Korea (DPRK), Hanoi, Vietnam.
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeter<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tBehind The Back Of The Buddha<\/em> 
\n\tGreat Amitabha Buddha, Phat Tich Mountain, Bac Ninh Province, Vietnam
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeters<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"Geronimo Surrenders (Attrition)<\/em>
\n\tGeronimo Surrenders Monument, Geronimo, Arizona, United States.
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeters<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tUniversal Landscape<\/em>
\n\tExecution Wall and Courtyard, Breendonk Concentration Camp, Breendonk, Belgium.
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeter<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tSongs For Future Revolutions (Mirrored Offense)<\/em>
\n\tMain Gate of Buchenwald Concentration Camp (Reversed), Weimar, Germany.
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 50 x 148 centimeters<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tTemple Phnom Bakheng (Everybody Knows Our Cities Were Built To Be Destroyed)<\/em> 
\n\tDeconstruction and Restoration of Temple Phnom Bakheng, Cambodia. (erected circa. 889 AD)
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeters.<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tIt Ain't Bragging If It's True (ED.)<\/i>
\n\tEntrance Gate to Edward Leedskalnin's Coral Castle, Leisure City, Florida, United States. (erected circa. 1923 AD)
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeters.<\/span><\/p>\n

 <\/p>\n

 <\/p>\n

\"\"
\n\tSame Old (Same Old)<\/em>
\n\tCleaning of the de-faced Bismarck-Nationaldenkmal (Tiergarten), Berlin, Germany
\n\tPigment Print on Paper. Edition of 3 \/ AP 1, 110 x 148 centimeters<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Freshly-turned Soul Waterloo Battlefield, Braine-l'Alleud, Belgium. Pigment Print on Paper. Edition of 2 \/ AP 1, 110 x 148 centimeters. Courtesy of 50°49'19.50''N 4°21'25.53''E galerie de l'erg, Brussels.   On […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-8802","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/pages\/8802","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/comments?post=8802"}],"version-history":[{"count":253,"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/pages\/8802\/revisions"}],"predecessor-version":[{"id":9678,"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/pages\/8802\/revisions\/9678"}],"wp:attachment":[{"href":"https:\/\/craighavens.com\/index.php\/wp-json\/wp\/v2\/media?parent=8802"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}