19.1.14

Art and the Holocaust




Art in the Ghettos and the [Concentration] Camps during the Holocaust
by Pnina Rosenberg

When the Nazis came to power in 1933, they banned all art which they regarded as subversive – i.e., modern, avant-garde, Communist, Jewish, Negro – or to use their term, degenerate. The fate of this art and its creators was very clear: both should be eliminated from society. Degenerate works of art were removed from museums, galleries, and other collections; Jewish artists were not allowed to pursue their careers, lost their teaching positions, and were permitted to display their works only in the premises of the *Juedischer Kulturbund. These degenerate works were assembled and put on show in Munich 1937 in the exhibition called "Degenerate Art" (Entartete Kunst), which was accompanied by vulgar and provocative quotations, accusing the artists of causing all the malaise of society and the world, thus warning the public of the dangers of such subversive artists.

Although Nazi laws should have been fully implemented in the concentration camp world, in many camps artistic creativity flourished and some of the works produced there were shown in exhibitions. Thus, ironically, the only place where these undesirable artists could produce and exhibit art was in their place of confinement.

During the Holocaust a tremendously rich variety of works of art were produced in the ghettos, hiding places, and camps of Nazi-occupied Europe. It was produced in extermination camps like Auschwitz, in the "model" camp of There-sienstadt, in transit camps like Westerbork in the Netherlands and Malines in Belgium, and in the network of camps set up throughout France, such as Drancy and Gurs. All these artists, whether professional or amateur, men or women, young or old, had one thing in common – they had been labeled undesirables, interned in the camps, cut off from society, and ordained to be victims of the Nazi Final Solution.

Artistic creation fulfilled many functions. It gave the artists a sense of self-assurance and allowed them to feel some connection with their past life as artists. It provided a way to pass the many hours of enforced idleness. It had barter value – the paintings that were commissioned by other inmates or by camp officials could be exchanged for food or other favors (such as smuggling out mail or some other improvement in conditions). Above all, art was the only means whereby the inmates could protest against their situation. They hoped that their protest would be heard beyond the barbed wire fences in the outside world, with the help of clandestine couriers mainly from the various welfare organizations and religious representatives who were permitted to enter the camp. Most of the paintings have documentary value, as the artists were aware of the necessity of recording for posterity the world in which they were imprisoned. Art, of course, does not merely portray an objective reflection of reality, but rather shows it through the personal prism of the artist. In other words, the works of art reflect the changing moods and feelings of the inmates/artists/witnesses.

Although the ghettos and the camps were isolated from each other certain themes were prevalent in these works of art. They include depictions of the barbed wire fences and the watchtowers, views of the camps, the daily routine, such as searching for food, attempts at personal hygiene, sickness and death, as well as landscapes and portraits. The common element in all these works is the need to portray and document in the closest detail the tragic and absurd circumstances in which the inmates found themselves. Such a situation was completely unforeseeable and the inmates were in no way prepared for this unimaginable nightmare which recurred in all the various ghettos and camps.

PORTRAITS AND "PRIVILEGED ARTISTS"

The works that survived, frequently as the result of astounding resourcefulness, had these common themes regardless of whether they had been produced in Eastern or Western Europe, by professional artists or amateurs. About a quarter of the works are portraits, a fact that is not surprising. Portraying a face or a figure was in itself an act of commemoration, confirming the existence of the individual in a world where existence was so uncertain and arbitrary. These portraits were often used to send greetings to inmates' relatives, to show that they were alive and well. This explains why we frequently find the name of the subject of the picture next to the artist's signature, along with the date and place. It also explains why the figures in the portraits have a slightly better appearance than in reality, for the artist wanted to send a positive message and not show the misery of their situation. These portraits are in many cases the last record of people who soon afterwards were sent to their deaths.

Aizik-Adoplhe Féder (Odessa 1887–Auschwitz 1943) was interned in Drancy, on the outskirts of Paris, where he drew portraits of people from all walks of life who were interned in the camp – workers and intellectuals, observant Jews, women, teenagers, children and infants. Most of the inmates, especially the women, look well, and, except for the additional verbal information alongside the portrait – date and location of the work – there is no indication that the subjects are imprisoned in Drancy, a camp that was also known as the ante-chamber of Auschwitz.

Féder was part of the "Ecole de Paris," a group of artists, most of them Jews, who immigrated from Western Europe to Paris, hoping to establish their artistic careers there. Many of those artists such as *Benn (Ben-Zion Rabinowicz; Bialystok 1905–Paris 1989), Abraham-Joseph Berline (Niejine, Ukraine 1894–Auschwitz 1942), Jacques Gotko (Gotkowski; Odessa 1900–Auschwitz 1943), David Goychman (Bogopol, Ukraine 1900–Auschwitz 1942), Isis-Israel Kischka (Paris 1908–Paris 1973), Savely Schleifer (Odessa 1881–Auschwitz 1942), and Zber (Fiszel Zilberberg; Plock, Poland 1909–Auschwitz 1942) were interned in various French camps such as Compiègne, Beaune-la-Rolande, Pithiviers, and Drancy, where they portrayed their co-inmates as well as themselves. The portraits usually carry identifying inscriptions, such as Kischka's Portrait of Uze, Internee in the Compiègne Camp, 29/3/42, or Portrait of Goychman by Kischka, 787122, 20/3/42, giving the artist's camp identification number alongside his name as a signature. Some of the portraits bear moving dedications, which attest to their amicable relationship.

Malva Schalek (Prague 1882–Auschwitz 1944), a daughter of a well-to-do, cultured Jewish family in Prague, established her reputation as an artist in Vienna, specialized in portraits, and was interned in Theresienstadt, where she continued painting her fellow inmates. Many of the portraits Schalek produced in the camp were commissioned, and she received food in payment, a practice which was not uncommon. Artists were commissioned by both inmates and by camp and ghetto administrators, in most cases asked to copy portraits of relatives from photographs or do their own likeness. In turn they received favors like better food or smuggled clandestine letters. This was experienced and attested by many artists such as Halina Olomucki (Warsaw 1919– ), who while interned in the Majdanek camp was commissioned by the head of the block to decorate the walls of the building. In return she received improved food rations. She used some of the materials she was given officially to paint her fellow women inmates clandestinely. From Majdanek she was transferred to Auschwitz-Birkenau, and there too she was a "commissioned artist" for the Germans. For this she received more substantial food, which helped her to survive. Esther Lurie (Liepaja, Latvia 1913–Tel Aviv 1998), while interned in the Kovno (Kaunas) ghetto, was commissioned by the Council of Elders (Aeltestenrat) to record ghetto life; to this end they arranged that she would not be engaged in any forced labor; later on when, while interned in Stutthof, the artist was asked by women inmates who had boyfriends to draw their portraits in return for a slice of bread. The painter-musician Isaac Schoenberg (Colmar, Alsace 1907–Auschwitz 1942), who was interned in Pithiviers, wrote to his beloved in Paris that he had to decline some of the inmates' requests to do their portraits, although he was paid more than the other artists in the camp, since he was engaged in producing her likeness from photographs, an activity which enabled him to endure life in the camp. Even amateur artists such as Etienne Rosenfeld (Budapest 1920–Paris 1995) were commissioned by their fellow inmates to draw their or their relatives' portraits, as is attested in his letters from the Drancy camp.

PORTRAYAL OF THE CAMPS

Another theme was the portrayal of the camps, particularly the barbed wire fences and watchtowers, which over time have become symbols of the Holocaust. They were part of the everyday experience of the prisoners, a constant reminder that they were confined in a closed camp, cut off from the society of which they had been an integral part up to a short while before. The barbed wire fences are a dominant element in many pictures. They appear in landscapes and genre paintings, while in some cases they have become the actual subject of the picture. Sometimes the fences are shown as a spider's web in which the figures are entangled, as, for example, in the aquarelle by Lou Albert-Lazard (Metz 1895–Paris 1969), depicting women imprisoned in the Gurs camp (France). Albert-Lazard, a German Jew who immigrated to Paris in the 1920s and was interned as a German alien, portrays the women as trapped by the barbed wire fence. Despite the delicacy of the painting, the barbed wire fence restricts their movements and closes in on them like a wall. The imprisoning barbed wire fence and the threatening watchtower, with an all-seeing eye at the top, are the central elements in the drawings and prints done by Jacques Gotko. At times, there is even an element of humor, with the artist painting laundry hung out to dry on the fence, as did the amateur artist Hanna Schramm (Berlin 1896–Paris 1978), a socialist activist who had sought refuge in France and was interned in Gurs on the outbreak of the war and depicted the miserable life there in ironic-humoristic drawings. But, however depicted, the prevalence of this motif stresses the sense of confinement the inmates experienced.

DAILY LIFE – INDOOR AND OUTDOORS SCENES

The forced communal life in ghettos and camps meant living in extremely crowded conditions with the need for privacy denied, no matter what race or sex the inmates were or what social standing they had enjoyed in their previous existence. The feeling of suffocation and the lack of private space is depicted by Malva Schalek in various aquarelles she produced in Theresienstadt. In many of her paintings she depicts the activity, or lack of it, in the camp. Sometimes she draws the interior as crowded and claustrophobic, with women and children lying or sitting on the triple-layered bunks, surrounded by bundles and suitcases. In others she portrays inmates reading or lying down. Similar depictions were produced by Osias Hofstaetter (Bochnia, Poland 1905–Ramat Gan, Israel 1994), who immigrated to Belgium, from where he was sent, after the Nazis invaded this country, to the French internment camps of Saint Cyprien and Gurs, where he depicted the forced idleness of men in and out of the barracks, as well as the overcrowdedness.

Some interior scenes, as those done by Jane Lévy (Paris 1884–Auschwitz 1943) in Drancy or Emmy Falck-Ettlinger (Lubeck 1882–Bet ha-Shtitah, Israel 1960) in Gurs, are characterized by extreme order and cleanliness. They depict kitchen utensils and personal items, a kind of desire to create a feeling of intimacy, warmth, and domesticity. Yet these works evoke a feeling of desolation and emptiness which even the domesticity of the interior cannot overcome.

Countless paintings show everyday, routine activities – bathing, washing one's hair, going to the toilet – since these basic human acts could no longer be taken for granted in the surroundings the inmates now found themselves in. Bathing was extremely difficult, as the water supply was completely inadequate for all the inmates and available only a few hours a day and often had to be done outdoors. Going to the toilet was no less embarrassing. The most intimate bodily functions had to be performed in public, adding to the dehumanization of the inmates. This may seem trifling compared to the acts of mass murder that were taking place at the time, but it should be remembered that the daily life of the inmates consisted in trying to meet the numerous "trifling" needs that are basic to civilized human life.

Many artists depict these activities, sometimes in humoristic drawings or aquarelles. Karl Schwesig (Gelsenkirchen, Germany, 1898–Duesseldorf 1955), a German communist who had fled from Germany after Hitler's rise to power and was a political refugee in Belgium, was interned in four different French camps. From his vast experience he depicted daily life, which became worse with the time. Many of his drawings illustrate the way the inmates were cooped up with a lack of hygienic facilities, as did other artists in the various camps – all attesting to the embarrassment and humiliation which accompanied these activities.

FOOD

The inmates suffered constantly from hunger, which weakened them both physically and mentally. Hunting for food was one of the main occupations of the camp inmates. Many paintings portray the subject of food, or the lack of food, ranging from lining up to get the daily rations (Leo Haas, Opava, Czechoslovakia 1901–Berlin 1983), to guarding a scrap of bread as though it were a treasure (Lili Rilik-Andrieux, Berlin 1914–San Diego 1996), to rummaging through the garbage to find a bite to eat that might ease the pangs of hunger (Karl Schwesig; Sigismond Kolos (Vary, Transylvania 1899–?)). Pictures of this last scene serve to illustrate again the degradation that was forced upon the camp inmates.

In the Auschwitz-Birkenau State Museum at Auschwitz, there is a Memories Calendar (Kalendarz wspomnień) comprising 22 small drawings (18 × 10 cm), produced in Auschwitz in 1944 by Ewa Gabanyi, prisoner no. 4739. Gabanyi was born in Czechoslovakia to a Jewish family and interned on April 3, 1942. The pictures in her calendar are mostly theatrical and fantastic – surrealistic dances and balls, elaborate costumes, weird animals, and exotic scenery. One picture stands out as completely different, as she depicts a woman prisoner in her striped dress eating soup, with the inscription First soup in the camp (Zjada pierwswą Zoupkę Lagrową), dated April 27, 1942; hence her first hot meal came three weeks after her arrival in Auschwitz. A picture that seemed completely naturalistic turns out to have a surrealistic aspect in the world of the camps.

DEPORTATIONS

The huge numbers sent to camps and from there deported to the death camps were portrayed by various artists such as Dr. Karel Fleischmann (Klatovy, Czechoslovakia 1897–Auschwitz 1944) and Charlotte Buresova (Prague 1904–Prague 1983) in Thereisienstadt, David Brainin (Kharkov, Ukraine 1905–Auschwitz 1942) in Compiègne, Kurt-Connard Loew (Vienna 1914–Vienna 1980), and Julius-Collen Turner (Schivelbein, Germany 1881–?) in Gurs, and Leo Maillet (Leopold Mayer; Frankfurt-am-Main 1902–Switzerland 1990) in Les Milles. In these pictures the artists usually depict faceless masses rather than individuals being sent on their last journey. Yet in several pictures, amidst the endless lines of people stretching beyond the horizon, the artist reveals the face of one of the deportees, often a child clinging to its mother or a disabled old person guarded by soldiers with pointed weapons. These scenes depict with bitter irony the imbalance of power – the innocence and the helplessness of the deportees versus the power of the executioners.

LANDSCAPES

The camps were often situated in beautiful areas, with snow-covered mountains in the distance or picturesque seaside villages, which were in sharp contrast to the misery of the life within the barbed wire fences (e.g., Karel Fleischmann, Karl Schwesig, Lou Albert-Lazard). Many artists painted these views, which provided them with a kind of connection with the outside world. The colors of a beautiful sunset, while serving to remind them of ordinary life, also brought home the indifference of nature to their suffering.

ART AS A MEANS OF CONNECTION WITH THE OUTSIDE WORLD

Artists sought to use their work as means to make contact with the outside world and let people know what was happening "on the other side of the fence." They did this despite the danger inherent in such activity, as can be seen in the fate of Leo Haas and Dr. Karel Fleischmann, inmates of There-sienstadt, who paid a high price for their efforts to smuggle their works out of the ghetto. In preparation for a visit of the Red Cross in summer 1944, the Germans searched the artists' quarters. They did this because they realized that the truth about their "model ghetto" was likely to be revealed in paintings being smuggled out of Theresienstadt. The artists refused to talk and after being interrogated and tortured were taken to a Gestapo prison. Eventually they were deported to Auschwitz, where Fleischmann died.

Contact with the outside world was of tremendous importance to the camp inmates, and in many cases it was art that paved the way. In some camps, such as Gurs and Compiègne, exhibitions were held. These exhibitions were visited by the Nazi administration and, in some cases, members of the public from the surrounding area. The inmates felt, for a brief moment, as if they had broken through the fence and were involved in the outside world. It should be noted, however, that these events were not mentioned in the press, which used to stress that the camp inmates were parasites and profiteers. Presenting them as creative and productive would not have fit this negative stereotype.

Artists arrived in the camps from all over Europe, from cities, towns and villages and from all levels of society. As we have seen, despite the artistic variety of their work, one unifying factor was common to them all – they all portrayed the grim reality and their cruel experiences, with a sense of longing for their former world which had disintegrated so totally.

The art of the Holocaust is unique in the history of art. In a state of hunger and destitution, with death a constant part of their daily existence, hundreds of artists did not allow the spark of the human spirit to be extinguished. In the universal language of art they portrayed the images of one of the darkest periods in human history.

Bibliography. Z. Amishai-Maisels, Depiction and Interpretation: The Influence of the Holocaust on the Visual Arts (1993); J. Blatter and S. Milton, Art of the Holocaust (1982); H. Fenster, Nos artistes martyrs (Undzere Farpainikte Kinstler) (Yid., 1951); M.S. Costanza, The Living Witness: Art in the Concentration Camps and Ghettos (1982); G. Green, The Artists of Terezin (1969); M. Novitch, Spiritual Resistance: Art from Concentration Camps 1940–1945. A selection of drawings and paintings from the collection of Kibbutz Loḥamei ha-Getta'ot, Israel. Union of American Hebrew Congregations, Philadelphia (1981); P. Rosenberg, L'art des Indésirables: l'art dans les camps d'internement français 1939–1944 (2003).

Art Influenced by the Holocaust
by Ziva Maisels

Reactions in the visual arts to the Nazi persecution of the Jews paralleled Adolf Hitler's rise to power and continue to this day. Unlike Holocaust Art – a name that designates the art produced by inmates in the ghettos and concentration camps (see above) – art that responded to the Holocaust has no clear name and its definition is highly complex. It was created by survivors as well as by refugees who fled to the free world before or during the war; by camp liberators who discovered the shocking truth of the Holocaust for themselves; by the children of survivors or refugees who carry in themselves the burden of memories, pain, and guilt transmitted to them from their parents; and by non-participants who may have lost relatives in the Holocaust or were simply shocked by it or by the idea that its lessons remain unlearned. Some artists reacted immediately, occasionally even anticipating events to come. Others – including survivors who had tried to turn their backs on their past – reacted to events that triggered their emotions: the discovery of the camps, the Eichmann trial, Israel's wars, or other examples of genocide. Such artists came from all religions – Jews, Christians, Muslims, Buddhists, etc. – and all nationalities, including Germans (e.g., Anselm Kiefer) who wish to express their own stance on the subject or to atone for the past. For some, the Holocaust was a specific event occurring in a set period of time; for others, it was an archetypal event which could be used to comment on other catastrophes – Hiroshima, genocide in Africa, or the Aids epidemic.

Moreover, artists had different motivations in using this subject. Some, such as Corrado *Cagli, documented the scenes on the spot or – like Audrey Flack and Nancy *Spero – on the basis of photographs, while others (for instance, William *Gropper and Leon *Golub) emotionally denounced cruelty and mass murder. Whereas survivors and their children often used art as therapy to recover from the past, most artists used it to make sure that the Holocaust would be remembered by memorializing it. Many reacted by affirming their Jewish identity, at first by depicting figures in prayer or the shtetl, as in the works of Max *Weber. More recently a few artists (such as Judy *Chicago) have begun to see the Holocaust itself as their sole means of Jewish identity. Still others, for example, Mark *Rothko and Karel Appel, responded in a highly personal manner by changing their style and subject matter in ways that are not self-evidently connected to the Holocaust but are revealed to be reactions to it on the basis of the artists' statements.

The artists' goals were often linked with the styles they chose to employ. For instance, Realism was used in witness reports as a means of confronting the spectator with the facts and convincing him of their truth, while Expressionism was used to express anger and heighten the denunciatory power of the work. Surrealism was often used to convey the idea that such events were taking place on "another planet," whereas Abstraction was a means of distancing the artist from the Holocaust and allowing it to be confronted from a safe place.

Although painters and sculptors had been working on the subject since 1933, it was the photographs and films taken by the liberators in 1944–45 that had the most immediate and lasting impact on the public at large. Appearing in magazines and newsreels, these reports turned everyone into a witness. It is for this reason that the most common images of the Holocaust in the public imagination are those they recorded: the mounds of corpses, the bald and emaciated survivors barely able to move, and the inmates crowded together behind barbed wire or in their bunks. Some of these images still inspire artists today (for instance, in the paintings of Natan Nuchi), but this source material has now been broadened to include the Nazis' own documentary snapshots of the ghettos, deportations, and executions as well as the identification photographs they took of the camp inmates, a type that influenced Aaron Gluska. Today new documentary photographs have been taken by artists who visit the camps. These images differ from the older ones in showing the camp as empty and clean, well-preserved monuments rather than the hellholes they were.

Several common motifs and themes run through all categories of Holocaust-related art. The primary image of the camp from the mid-1930s was of people behind barbed wire, an image used by John Heartfield because one of the few facts known then about the camps was that they were surrounded by barbed wire fences. This representation was reinforced after the camps were liberated, as photographers such as Margaret *Bourke-White took their stance outside the fence looking into the camp. The image was so pervasive and clearly understood that it could be suggested by including a single piece of barbed wire into an abstract composition, as was done by Igael *Tumarkin. Another primary symbol was the refugee, a subject documented by the refugees themselves (e.g., Marc *Chagall) and by those who wanted to state their plight. This image was transformed after the war by artists such as Lasar *Segall into that of the displaced person to represent survivors who were trying to find a place to stay. This subject slowly disappeared after 1948, as the State of Israel was seen as having solved this problem. It has recently been reinstated, as in a painting by Joan Snyder, in an attempt to identify Palestinian refugees with the victims of the Holocaust. Another image that was popular during the war was that of the Jewish partisan, especially those who participated in the Warsaw Ghetto uprising depicted in the monument by Nathan *Rapaport. Upheld at first as an image of Jewish pride in resistance to the Nazis, it was eventually supplanted by that of the Israeli soldier.

Other symbols became common only after the war, for instance the symbolic use of the crematorium chimney and the image of emaciated corpses or survivors, themes that grew out of the experience of liberating the camps and understanding what had happened there. Whereas the chimney and the survivors were relatively easy for Friedensreich Hundertwasser and George Grosz respectively to handle, the corpses were repugnant and many artists followed Pablo Picasso's lead in translating them into more stylized images. On the other hand, artists such as Zoran Music and Robert Morris later specifically portrayed the corpses in all their expressive reality to awaken the failed conscience of the modern world that continues to commit genocide.

All the above symbols were taken from the camp experience. But artists who were interested in learning moral lessons from the Holocaust also culled other images from religion and mythology to convey their ideas. Thus the victim can be portrayed through biblical symbols, such as the sacrifice of Isaac or Job who questions God, as in the works of Leonard *Baskin and Jakob *Steinhardt respectively. These subjects could also be used to vent anger against God for allowing the Holocaust to happen, as in the work of Mordecai *Ardon. Marc Chagall led the way in depicting the victims as the crucified Jewish Jesus, in an attempt to make Christians understand what was occurring. Resistance to Nazism was symbolized by Jacques *Lipchitz by means of David slaying a Nazi Goliath and Prometheus slaying the vulture.

The portrayal of the Nazis was more difficult: their portrayal as monsters or demons as in the works of Marcel *Janco ignores the fact that those who carried out the Holocaust were human beings. However, portraying them realistically as humans, as Gerhart Frankl did, underplays the horrific dimensions of their deeds. Beginning with Lipchitz, some artists concluded that the problem lay not only with the Nazis, and used their art to warn mankind that there is a beast lurking within us which must be tamed lest we cause other holocausts. Others, such as Matta and *Maryan Maryan, took a more pessimistic view of man's monstrous nature and portrayed ambiguous figures whose nature cannot be clearly defined as good or evil.

The Holocaust also prompted Jewish artists to take a renewed look at their Judaism. While some affirmed their faith and Jewish identity and others expressed their anger against God, a few stressed their lack of faith in the future of Judaism. Thus Samuel *Bak depicted a destroyed and patched-up Ten Commandments that will never be the same. Whereas the establishment of the State of Israel was at first seen by artists such as Chagall and Lipchitz as an answer to the Holocaust and a solution to the problems it caused, Israel's continuing wars – especially the threats to its existence in 1967, 1973, and 1991 – led artists such as Erich Brauer to see in each event a potential renewal of the Holocaust. Moreover, the resurgence of antisemitism in the 1980s caused R.B. *Kitaj and George *Segal to begin to deal with the Holocaust.

On the other hand, the conflicts between Israelis and Palestinians since 1967 have caused left-wing artists to adapt Holocaust imagery to this issue, with the Palestinians replacing the Jews. This generalization of Holocaust imagery is part of a wider phenomenon in which such images are applied to any current conflict in order to activate an inbred, unquestioning hatred against those who have been clothed in the despised Nazi imagery and an equally innate sympathy for those depicted as victims.

The newest developments in art inspired by the Holocaust can best be examined through three themes. First, children of survivors, such as Yocheved Weinfeld and Haim Maor, try to understand their parents' experiences by picturing themselves in their place and exploring how they would have reacted. The second theme – ghosts – is poignantly demonstrated by Shimon Attie's projections of old black and white photographs of the Jewish inhabitants of Berlin and Rome on the walls of these cities, so that they seem to be haunting their streets. The third subject is the expression of constant anxiety, a feeling Jonathan Borofsky explicitly connects with the Holocaust. Such new themes suggest that artists have not finished examining the Holocaust and that they will continue to find new means to express its relevance to the modern world.

Bibliography. Z. Amishai-Maisels, Depiction and Interpretation: The Influence of the Holocaust on the Visual Arts (1993); M. Baigell, Jewish-American Artists and the Holocaust (1997); M. Bohm-Duchen, Monica (ed.), Art after Auschwitz (1995); S.C. Feinstein (ed.), Absence/Presence: Critical Essays on the Artistic Memory of the Holocaust (2005); idem, Witness and Legacy: Contemporary Art about the Holocaust (1995); S. Hornstein and F. Jacobowitz (eds.), Image and Remembrance: Representation and the Holocaust (2003); S. Horn-stein, L. Levitt, and L.J. Silberstein. Impossible Images: Contemporary Art after the Holocaust (2003); D.G. Roskies, Against the Apocalypse (1984); Washington Project for the Arts. Burnt Whole (1994); J. Young, At Memory's Edge: After-Images of the Holocaust in Contemporary Art and Architecture (2000); idem, Texture of Memory: Holocaust Memorials and Meanings (1993).

Resources. Traditional Art ; Modern Art ; Art in Israel ; Art in the USA (Art, Jewish Virtual Library, 2008-2013).

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