The Little Bighorn Battlefield National Monument is the site of one of America’s most famous armed struggles, but the events surrounding Custer’s defeat there in 1876 are only the beginning of the story. As park custodians, American Indians, and others have contested how the site should be preserved and interpreted for posterity, the Little Bighorn has turned into a battlefield in more ways than one. In Stricken Field, one of America’s foremost military historians offers the first comprehensive history of the site and its administration in more than half a century. Jerome A. Greene has produced a compelling account of one of the West’s most hallowed and controversial attractions, beginning with the battle itself and ending with the establishment of an American Indian memorial early in the twenty-first century. Chronicling successive efforts of the War Department and the National Park Service to oversee the site, Greene describes the principal issues that have confounded its managers, from battle observances and memorials to ongoing maintenance, visitor access, and public use. Stricken Field is a cautionary tale. Greene elucidates the conflict between the Park Service’s dual mission to provide public access while preserving the integrity of a historical resource. He also traces the complex events surrounding the site, including Indian protests in the 1970s and 1980s that ultimately contributed to the 2003 dedication of a monument finally recognizing the Lakotas, Northern Cheyennes, and other American Indians who fought there.

The 1876 events known as Custer’s Last Stand, Battle of Little Big Horn, or Battle of Greasy Grass have been represented over 1000 times in various artistic media, from paintings to sculpture to fast food giveaways. Norman Denzin shows how these representations demonstrate the changing perceptions—often racist—of Native America by the majority culture, juxtaposed against very different readings shown in works composed by Native American artists. Consisting of autobiographical reminiscences, historical description, artistic representations, staged readings, and snippets of documents, this multilayered performance ethnography examines questions of memory, race, and violence against Native America, as symbolized by the changing interpretations of General Custer and his final battle.

[A]bout major competition events in architecture, landscape architecture and public art around the world.

Memorials are more diverse in design and subject matter than ever before. No longer limited to statues of heroes placed high on pedestals, contemporary memorials engage visitors in new, often surprising ways, contributing to the liveliness of public space. In Memorials as Spaces of Engagement Quentin Stevens and Karen A. Franck explore how changes in memorial design and use have helped forge closer, richer relationships between commemorative sites and their visitors. The authors combine first hand analysis of key examples with material drawn from existing scholarship. Examples from the US, Canada, Australia and Europe include official, formally designed memorials and informal ones, those created by the public without official sanction. Memorials as Spaces of Engagement discusses important issues for the design, management and planning of memorials and public space in general. The book is organized around three topics: how the physical design of memorial objects and spaces has evolved since the 19th century; how people experience and understand memorials through the activities of commemorating, occupying and interpreting; and the issues memorials raise for management and planning. Memorials as Spaces of Engagement will be of interest to architects, landscape architects and artists; historians of art, architecture and culture; urban sociologists and geographers; planners, policymakers and memorial sponsors; and all those concerned with the design and use of public space.

"[This work] explores the interplay between permanence and impermanence in cultural and artistic practices in the West and elsewhere ... [and] addresses particularly crucial artists, including Robert Smithson and Andy Goldsworthy, as well as a wide variety of historical epochs and cultures, from the destroyed Buddhas at Bamiyan through attempts at preservation and commemoration in the wake of historical catastrophes like 9/11 and the genocide in Cambodia to the current trend toward globalization in contemporary art."--Publisher's description.