Description |
xix, 152 pages ; 26 cm |
Series |
Visible evidence ; v. 3 |
|
Visible evidence ; v. 3
|
Contents |
Introduction: (Im)Possible Witnessing -- 1. Photography and Naming -- 2. The Identity Card Project and the Tower of Faces at the United States Holocaust Memorial Museum -- 3. Between Trauma and Nostalgia: Christian Boltanski's Memorials and Art Spiegelman's Maus -- 4. Artifactual Witnessing as (Im)Possible Evidence -- 5. The Provocation of Postmemories -- In Lieu of a Conclusion: Tender Rejections |
Summary |
Photographs of the Holocaust bear a double burden: to act as history lessons for future generations so we will "never forget" and to provide a means of mourning. In Trespassing through Shadows, Andrea Liss examines the inherent difficulties and productive possibilities of using photographs to bear witness, initiating a critical dialogue about the ways the post-Auschwitz generation has employed these documents to represent Holocaust memory and history. Focusing on a wide range of photographic displays and museum installations as well as such films as Shoah and Schindler's List, Liss questions the role of photography as social practice. She critically analyzes the transformations that documentary and more intimate photographs undergo as they are mediated through contemporary exhibition techniques, both at the institutional level of the United States Holocaust Memorial Museum in Washington, D.C., and in the hands of a group of contemporary artists and photographers including Art Spiegelman, Judy Chicago and Donald Woodman, Christian Boltanski, Suzanne Hellmuth and Jock Reynolds, and Anselm Kiefer |
Bibliography |
Includes bibliographical references (pages 139-147) and index |
Subject |
Holocaust, Jewish (1939-1945) -- Pictorial works.
|
|
Documentary photography.
|
LC no. |
98014151 |
ISBN |
0816630593 hardcover alkaline paper |
|
0816630607 pb alkaline paper |
|
0816630607 paperback alkaline paper |
|
0816630593 hardback alkaline paper |
|