In the early hours of July 8, as Hurricane Beryl wreaked havoc on the city of Houston, a brazen act of vandalism took place at the University of Houston. The 18-foot bronze sculpture created by renowned artist Shahzia Sikander, known as "Witness," was beheaded amid the chaos of the storm. The incident has not only shocked the art community but also ignited debates about the intersection of art, politics, and social justice.
"Witness" is a powerful monument celebrating women and justice. The female figure adorned with ram's horn-like braids and a lacy collar symbolizing the late Supreme Court Justice Ruth Bader Ginsburg, had been a subject of controversy even before this act of vandalism. Right-wing groups, particularly Texas Right to Life, protested its installation, labeling it a "Satanic abortion idol" and calling for its removal. The uproar led the university to cancel a planned opening and artist talk, emphasizing the contentious atmosphere surrounding the artwork.
Kevin Quinn, the university's executive director of media relations, expressed his disappointment over the damage, stating, "The damage is believed to be intentional. The University of Houston Police Department is currently investigating the matter." Footage from campus security cameras has been handed over to the police, further supporting claims that the act was deliberate rather than a mere consequence of the hurricane.
Sikander, a Pakistani American artist celebrated for her works that explore themes of politics, language, and empire, reacted strongly to the incident. In a telephone interview, she described the vandalism as a "very violent act of hate" and insisted that it be investigated as a crime. She emphasized that the symbols in her sculpture were never meant to be associated with Satanism. "The ram's horns are universal symbols of strength and wisdom," Sikander told Art in America earlier this year. "There is nothing Satanic about them."
The sculpture originally garnered acclaim during its five-month stint at New York City's Madison Square Park. Its travel to Houston, however, marked the beginning of its controversial journey. The University of Houston's decision to cancel its opening event and an accompanying video work by Sikander further highlights the contentious reception the piece received in Texas.
Despite the heightened security following protests, the vandals managed to execute their plan. Rachel G. Mohl, the university's head of public art programs, expressed her shock and sadness in an email to Sikander, writing, "This has disturbed all of us, and we are working to fix this unbelievable and regrettable act as quickly as possible amidst the immense damage that the hurricane brought."
Brooke Kamin Rapaport, the chief curator at Madison Square Park Conservancy, highlighted the significance of "Witness" in an interview. She explained that the sculpture was initially part of a broader response to statues of male lawgivers at a nearby courthouse in Manhattan. "This was an optimistic, forward-looking vision for justice," Rapaport stated. "And now that vision has vanished."
Sikander, whose accolades include a MacArthur "genius" grant, has decided against repairing the damage. Instead, she intends to leave the beheaded sculpture as it is and create new works in response to the incident. "I don't want to 'repair' or conceal," Sikander said. "I want to 'expose,' leave it damaged. Make a new piece, and many more."
This incident has sparked a larger conversation about the fragility of public art and the tensions between artistic expression and public perception. As the University of Houston moves forward with both hurricane recovery efforts and an investigation into the vandalism, the legacy of "Witness" continues to evolve, embodying both resilience and the vulnerabilities that come with challenging societal norms.
Art, it seems, remains a contentious battleground where differing ideologies clash. Sikander's decision to leave the artwork damaged may serve as a reminder of the very themes she sought to explore—strength, wisdom, and resilience in the face of adversity. The future of "Witness," though uncertain, will undoubtedly continue to provoke thought and spark dialogue, reinforcing the enduring power of art to challenge and inspire.