Twentieth International Conference on the Arts in Society

This paper explores how public art and literary expression contribute to reframing collective memory in postcolonial contexts, focusing on Korea’s “Statue of Peace” and the poetry of Emily Jungmin Yoon. Both the statue and Yoon’s poetry engage with the complex legacies of Japanese colonization (1910-1945) of Korea, offering alternative narratives that challenge dominant historical discourses. The Statue of Peace, erected in front of the Japanese embassy in Seoul, commemorates the Korean “comfort women” forced into sexual slavery by the Japanese military during World War II. This paper examines how the statue, in its highly politicized space, functions not only as a site of mourning but also as an ongoing act of resistance, shaping collective memory and challenging historical narratives that have marginalized these women’s experiences. In parallel, Emily Jungmin Yoon’s poetry provides a literary space that resonates with the themes embodied by the Statue of Peace. Through close readings, this paper explores how Yoon’s work captures the emotional and psychological dimensions of “han,” a sentiment of unresolved trauma rooted in Korean culture. Yoon’s poetry serves as a cultural critique, engaging with the historical trauma of colonization and offering a space for collective grief and resilience. By employing interdisciplinary approaches, including art history, postcolonial theory, and literary analysis, this paper demonstrates how the Statue of Peace and Yoon’s poetry function as mediums for social engagement, reshaping collective memory, and fostering a more inclusive understanding of Korea’s past.

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Painted in History

Leah Fryer
Paper Presentation in a Themed Session

Camille Doncieux was painted by Claude Monet nearly forty times during her lifetime, but she is missing from history. After her death from illness, Monet's second wife Alice destroyed all of Camille's personal artefacts. What remains are Monet's paintings of her and a single photograph. Everything we know about her is through secondary accounts and analysis of her in paintings. Yet, Camille's likeness is shown around the world, seen by millions of people every year in museums and on reproductions of these paintings found on postcards, tote bags, prints, and more. The public knows her face but may not think twice about who she was or what she may have been like. Exploring the idea of cultural memory, I examine how such a prominent figure in Impressionism still remains widely unknown to the general public. There is something to be said about public consumption of art and recognizable figures within these works. How does Camille exist in cultural memory and what is her place in history outside of being Monet's first wife, model, and mother to his children? By taking a closer look at Camille, there is much uncovered about Monet and how he treated his first muse, shedding light on Camille's personal struggles as a woman in nineteenth-century France and as partner to an aspiring painter.

Room 1 (A25en) : 2025-05-28 15:20

The Roles of Arts of Hospitality Influence Social Development

Kim Thu Le
Paper Presentation in a Themed Session

This study employs qualitative approaches with an ethnographic perspective to explore how the arts have been used to facilitate discussions in a hospitality environment among various participants, including visitors, tourists, researchers, and academics. The focus of this study is hospitality within the arts and how it facilitates discussions among writers, artists, and scholars. Drawing from literature and the visual arts, this research explores three case studies. The first focuses on the story of Burma Shave (1927 – 1963), a pop-cultural icon in America during the Depression. The second case focuses on Jewish humour and its critics and how it prompted audiences to recognize truth and contemplate human duties. The third case reveals complementary persuasive arguments, with the visual arts employed to explore Luther as a humanist activist in Germany from 1500, and the expansion of Lutheran viewpoints globally with complementary perspectives. In the context of the arts of hospitality, the question arises: How do the arts of hospitality create powerful tools, fostering social cultural development?

Room 1 (A25en) : 2025-05-28 15:00

The Aesthetics of a Social Media Scam

Joshua Westerman
Paper Presentation in a Themed Session

Amalia Ulman's "Excellences and Perfections" has been called the first great social media artwork by curators at the Tate Modern. The work consists of a 6-month hoax based on Instagram in which the already successful Ulman tricks her friends and followers into believing a fully-scripted life catastrophe. Ulman's work has a great deal to tell us about the nature of aesthetics on contemporary social media and how machine learning-based tools have now automated her Cindy Sherman-like consolidation of popular aesthetics. Taking us through the "whore", the "it girl" and the "reformed whore" (in her own words) Ulman shows us that simply "looking" true is often enough.

Room 1 (A25en) : 2025-05-30 11:25

Aura of Criminality

Kehinde Christopher Adewumi
Paper Presentation in a Themed Session

Graffiti has historically been linked to crime, violence, and gang activities. The ‘broken window theory’ is one of the major theoretical explanations against the presence of Graffiti in the public space. Simply put, the theory holds that if a broken window is left unfixed it often leads to more grave acts of crime and violence. Thus, an immediate eradication of graffiti is necessary to prevent the proliferation of violent crimes. In this study, with a focus on the Durban context, I argue against this notion of criminality often attached to the graffiti community. I insist that this aura of criminality stems from the lack of understanding of the disruptive, transformational and non-conformist nature of graffiti. My argument is thus framed around two major research questions: (a) Is the aura of criminality often attached to graffiti tenable in Durban? (b) What motivates graffiti creation in Durban? Using a qualitative research methodology, the study employs snowball sampling to engage with five active graffiti artists in Durban. Thematic analysis of the collected data reveals that while graffiti is seen as a symptom of criminality by some, others appreciate it for the beauty it brings to the public. It is thus important to account for the place of context and subjectivities in the meaning-making and acceptability of Graffiti.

Room 2 (A25en) : 2025-05-29 14:20

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