Gutzon Borglum and the KKK, p2
in stone to look outwardly and survey the surrounding plans, carries with it what some consider to be clues to the true inner working of the mind of Gutzon Borglum, the artist. The imperial majesty of the vista contains exactly that implication... awe being driven by domination, the scope of the project forcing a symbolic interpretation based solely on scale. (McKeel et al.)
The true test, however, lies in the reaction of the individual and the completed work. The artwork itself inspires subjective reactions, with some viewing the monument as a true "Shrine to Democracy", an uplifting experience of patriotism and human accomplishment. Others view the artwork as offensive and oppressive. In the world of art both interpretations are equally valid, so long as care is taken to at least acknowledge the existence of the opposing point of view as a valid viewpoint there is no issue with making a personal, subjective choice.
The same must then apply to interpreting whether or not Gutzon Borglum truly repented his involvement with the Ku Klux Klan, or simply made a public repudiation of expediency, or perhaps as a result of his dismissal and flight from the Stone Mountain project. In either case, we cannot objectively know at this point whether Gutzon Borglum was or was not a true and lasting sympathizer with the KKK. It remains to us as individuals to form our own opinion, but as with the art he created, we must be certain to acknowledge that the opposing view has equal merit, before subjectively settling into our own preferred interpretation.
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