Search Results

Milwaukee County War Memorial Center, Wisconsin, USA September 2024 – August 2026 The front cover of the final curriculum which has been specifically designed for veterans to teach other veterans. Paul Emmanuel collaborates on 'Talking With Monuments' discussion series. Talking With Monuments: Veteran Dialogues on Remembering is a 5-week public program that engages war memorials as powerful stages to recall and reflect on military service. Often, monuments tell one story, at the cost of omitting others. As a result, the experiences of diverse veterans and their stories become overlooked or forgotten. This ‘erasure’ can intensify veterans’ post-military reintegration challenges. Five veteran leaders will attend advanced training to lead difficult discussions around the topics of status and belonging, heroism, representation, exclusion, remembrance, and impermanence. Moral injury will be thread that weaves these discussions together. We visit 5 memorial sites, with historical mini lectures covering the Civil War, WWI and II, Korea, Vietnam, Iraq and Afghanistan, and Pre-colonial Tribal Wars. Participants enact paired poetry and comics at these sites, activating remembrance and expanding cultural narratives around who serves and the stories that are untold. Through these site visits and veteran-led conversations, we cultivate dialogues around military service, public representation, and moral injury. Our aim is to acknowledge the stories that have not been told, or forgotten, and gain a deeper understanding of diverse veterans’ lives and service. 3 cycles of programming for veterans, veterans peer support specialists, and the public, will occur between September 2024 – August 2026. The Team from left to right: Yolanda Medina, Carlos Muñoz, Vera Reddy, Dan Kasza, Katinka Hooyer, Charlie Walton and Paul Emmanuel (front center) Photos documenting the initial lectures and discussions to introduce the curriculum to this group of veterans. This workshop included lectures on emotional intelligence, moral injury and monuments. This workshop was designed to equip this group of veterans to guide other veterans through the discussion series. PROJECT TEAM Katinka Hooyer, PhD, project director, is a cultural anthropologist with 12 years’ experience developing community-engaged programming and research with veterans and moral injury. As project director for two previous NEH Warrior’s Path grants, Hooyer serves as project director, program/evaluation design lead, leader trainer/mentor, and responsible for qualitative evaluation, reporting/dissemination. Leslie Ruffalo, PhD , statistical analyst and evaluator, is associate professor at MCW with experience implementing and evaluating multiple veterans’ outreach projects with VA and in Southeast Wisconsin. Laura Johnson is a community program coordinator at MCW, Department of Family and Community Medicine with expertise in managing multi-partner, educational projects, and financial aspects of grant awards. Johnson is project coordinator. Patricia Clason, MS is a Trauma Informed Instructor at UW-Milwaukee. She will provide advanced training in emotional intelligence and trauma informed facilitation for the Preparatory Training. Paul Emmanuel is a Fulbright Scholar and artist specializing in memorialization. His work explores the way mental and physical landscapes interact in their construction of memories and identity. Emmanuel will provide Preparatory Training on memorials and how they work to construct stories and histories. Sean Clark, MA, Army veteran, is an educator, director of programs at the War Memorial Center. He specializes in curriculum design, public programming of the War Memorial Center. He will provide historical overviews for each memorial site. Bryan Rindfleish, PhD is an assistant professor of history at Marquette University. He is an expert and teacher of indigenous history of urban spaces and will lead the history lecture at the Indigenous Burial Mound in site (300 BC - 400 AD). Otis Winstead is a veteran and President/CEO of Dryhootch Great Lakes, a veteran peer support organization. He initiated the design of the African American Memorial Wall and will provide history lectures for this site. Zeno Franco, PhD is a scholar of heroism and clinical psychologist at Veterans Affairs Franco will provide an overview of heroism as it relates to memorialization and moral injury for our Preparatory Training. Kyle Kummer: Kyle is our graphic designer and has worked with our team for 10 years doing veteran-led design including Warrior’s Path. Kyle will design all flyers, discussion guides and public facing reports. Yolanda Medina : U.S. Marine Corps 1981-1985. Yolanda is the Executive Director of the Military and Family Resource Center at UW-Milwaukee and advises veteran students. She is part of the Female Veteran exhibit, I am not Invisible. Discussion leader. Charlie Walton : U.S Marine Corps, 1968-1972. Charlie Walton is our elder, identifies as a Black Veteran, and is an experienced public speaker. He has 7 years-experience providing pastoral services through the Baptist Church serving the Milwaukee inner city. Discussion leader. Carlos Munoz II : U.S. Army 2002-2019. Carlos is an active member of the Milwaukee Hispanic community, and the Director of Veterans Upward Bound at UW-Milwaukee, supporting veterans in higher education application and attainment. Discussion leader. Daniel Kasza: U.S. Army 2003-2015. Dan is a community engaged researcher, and skilled public speaker, having presented at three national conferences. He is co-author of two peer reviewed articles on veteran engagement in programming and research. Discussion leader. Vera Roddy: U.S. Air Force/Air Force Reserves, 1977-1992. Vera is the founder and leader of the Artful Warrior’s, a grass-roots peer-lead group, for veterans and community partners to connect in creative endeavors. Discussion leader. Talking With Monuments is supported by the National Endowment for the Humanities Images documenting moments during the veteran-to-veteran moral injury discussions at monuments in Milwaukee during June 2025.

New academic journal article written by Associate Professor Irene Bronner, University of Johannesburg for De Arte, Taylor and Francis. 17 November 2025. Figure 1: Paul Emmanuel. Installation view of The Lost Men France . 1 July 2014 to 1 October 2014, on privately owned land adjacent to the Thiepval Memorial to the Missing of the Somme. Photographed by Colleen Costick, 2014. Courtesy of Paul Emmanuel. Abstract This article examines South African artist Paul Emmanuel’s The Lost Men France (2014), part of his ongoing Lost Men project, as a critical intervention into dominant forms of memorialisation and public art. Installed adjacent to the Thiepval Memorial to the Missing of the Somme in Picardy, France, Emmanuel’s ephemeral installation challenges the nationalist ideologies and racialised exclusions of conventional war memorials, such as the erasure of Black South African servicemen from First World War histories. Drawing on Mechtild Widrich’s concept of performative monuments and on James E. Young’s framing of the counter-monument, The Lost Men France is interpreted as a work of art that resists permanence, instead activating memory through vulnerability, absence, and embodied witnessing. This article argues that Emmanuel’s installation establishes a dialogical relationship with the Thiepval Memorial, both supplementing and unsettling its monumental authority. The installation foregrounds haunting and witnessing not as passive acts of remembrance, but as active, critical modes of engagement with the historical violence embedded in memorial forms. In doing so, it offers a reparative aesthetic grounded in fragility and contingency, proposing new forms of commemorative practice beyond the logic of state-sanctioned heroism. While #RhodesMustFall frames recent calls to decolonise public monuments, Emmanuel’s long-standing performative interventions demonstrate a prescient critique, even with their ambivalences, of how patriarchal and racialised structures shape what and who is remembered. Read and download the article here: https://www.tandfonline.com/doi/abs/10.1080/00043389.2025.2563405

An online memorial ceremony conducted every September, by living veterans for veterans who have died by suicide. A collaboration with The Warrior’s Path. Video still from The Veteran’s Memorial to the Living . (5 min 26 sec) 2025. Paul Emmanuel’s collaboration on The Veteran’s Memorial to the Living. Suicides are casualties of war. This memorial honors the invisible wounds that led to their deaths. Connect to The Veteran’s Memorial to the Living website

This Privacy Notice, together with our Data Protection Policy, explains how Paul Emmanuel Studio (“Paul Emmanuel Studio”, “we”, “us”) uses personal data relating to Suppliers, Customers, Collectors, and Contacts (“users”, “you”). Paul Emmanuel Studio is a data controller for the purposes of the General Data Protection Regulation 2018. We also act as a data processor for limited information received from third-party associate galleries. The Sales Agreement between these galleries and individual Collectors specifies what data is transferred and for what purposes. We uphold all rights of the data subject, including the rights to information, access, rectification, erasure, restriction of processing, data portability, withdrawal of consent, filing a complaint, and objecting to automated decision-making and profiling. 1. INFORMATION WE MAY COLLECT ABOUT YOU Categories of personal data: data relating to Suppliers data relating to Customers data relating to Collectors data relating to Contacts We may collect and process the following information: Contact details Name and address Bank details (only when required for payment to fulfil contractual or statutory obligations) Correspondence between you and the Studio 2. WHERE WE STORE YOUR PERSONAL DATA Once received, your information is stored in secure electronic and physical records. We use strict procedures and security features to reduce the risk of unauthorised access. However, the transmission of information over the internet—particularly via email—is not completely secure, and we cannot guarantee absolute security of data sent to us electronically. Transactional information relating to the development of works, exhibitions, or projects may be archived. At our discretion, the Studio may grant supervised, limited access to these archives to academics or researchers, who may only view restricted or anonymised data directly related to a specific work, project, or exhibition. 3. HOW WE USE YOUR INFORMATION We may use the information we hold about you to: administer accounts and studio operations; provide information or communications you have requested; respond to your enquiries; fulfil contractual obligations between you and the Studio; ensure compliance with our Data Protection Policy; meet legal obligations or protect/enforce legal rights; support any sale or transfer of our business or assets; maintain archives or provenance records. 4. LAWFUL BASIS FOR PROCESSING We process personal data on the lawful basis of legitimate interests. Suppliers and Customers: Data is processed to fulfil obligations under contracts or terms of engagement. Collectors: Data is processed for accounting purposes. Limited data may be archived for provenance. Some Collector data may be provided to us by partner galleries. Contacts: Data is given directly and with consent. Communications are based on your expressed interest in receiving them. 5. DATA RETENTION POLICY We retain data in line with market-standard retention practices, based on the original purpose of collection and the necessity of ongoing storage. Suppliers and Customers: Data is retained for the duration of the contract or engagement, plus six years. Data for individuals who work with us regularly or who must remain reachable for care and maintenance of works may be retained longer, depending on project needs. Collectors: Data is initially held for accounting purposes and then partially purged. Minimal data may be archived for provenance when necessary, based on mutual interests and subject to regular review. Contacts: Information is retained only for as long as the relationship is active or there remains a reasonable likelihood of future engagement. 6. MARKETING COMMUNICATIONS The Studio may send a limited number of email or postal communications to individuals who have asked to receive notifications about events, exhibitions, or publications. If you wish to stop receiving these communications, you may notify us at any time using the contact details provided in section 10. 7. PROFILING AND AUTOMATED DECISION MAKING We do not conduct profiling or automated decision-making. 8. DISCLOSURE OF YOUR INFORMATION We may disclose your personal data to third parties where necessary for the purposes described in sections 2 and 3, including: associated companies; academics and researchers; service providers and professional advisers; prospective purchasers of our business or assets; other third parties as required or permitted by law. 9. CHANGES TO THIS PRIVACY NOTICE We may update this Privacy Notice from time to time. Last updated: 30/11/25 10. CONTACT DETAILS If you wish to correct information we hold about you, or if you have any questions about this Privacy Notice, please contact us at studio@paulemmanuel.net . We will respond as promptly as possible.

Paul Emmanuel REMNANTS (2017) The Reservoir, Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa Info Remnants The Reservoir, Oliewenhuis Art Museum, Bloemfontein, Free State, South Africa 25 May – 9 July 2017 First exhibited at South Africa's Freedom Park Museum and then at Boston University's 808 Gallery USA, this solo, museum exhibition features artworks related to Emmanuel's counter-memorial, The Lost Men France which was installed adjacent to the Thiepval Memorial to the Missing of the Somme in 2014. The Lost Men France , the 3rd in his The Lost Men series, comprised 5 large silk banners depicting the artist's body bearing names of WWI servicemen from all nations pressed into his skin. The exhibition underscores concepts of loss, memory and memorialisation in an installation centred around the 'remnants' of The Lost Men France banners, torn and battered by the winds of the Somme. The banners are complemented by videos, drawings, prints and plaster casts of the artist's body. Oliewenhuis Art Museum press release [PDF]

Paul Emmanuel TRANSITIONS MULTIPLES (2011) Featured Artist, FNB Joburg Art Fair, Johannesburg, Gauteng, South Africa Info Transitions Multiples FNB Joburg Art Fair Special Project: Featured Artist FNB Joburg Art Fair in association with Gallery AOP, Sandton Convention Centre, Johannesburg, South Africa 23 – 25 September 2011 Transitions Multiples formed part of Emmanuel’s Transitions project in which he explores the way society constructs perceptions and performances of a masculine identity. The exhibition comprised a suite of hand printed, hand coloured 'manière-noire' stone lithographs as well as the short film 3SAI: A Rite of Passage (2008). The show was presented by FNB Joburg Art Fair in association with Gallery AOP. Art Source South Africa are managers of Emmanuel's Transitions project. Review by Wilhelm van Rensburg for South African Art Times (2011) Article by A. van Wyk in Life, Sunday Independent newspaper (2011) Interview by Michael Smith in ArtThrob (2011) Article by N. Bosman in The Citizen newspaper (2011) Press release by FNB Joburg Art Fair Transitions Multiples brochure published by Gallery AOP and Art South South Africa [PDF]