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only in the degree of ingenious severity wit h which they ruled. Here in this book which had a overwhelming success in Poland, is the whole story. The first sight through the bars of…” The text is cut here with a note (continued on back flap). Read in part or in its entirety, this text helps to contextualize the work. The paper on the opposite side is opaque, smoother and lighter to the touch. We are brought back to another movement, the act of turning a page. The physical act of turning the pages is what brought the viewer into the world of the book, allowing him to travel from past to present, from my grandmother's story to my own. In this next sequence the viewer directly mirrors the action that is taking place in the images by the simple act of turning the pages. The repetitive quality of the actions leads the viewer into the fist pages of my grandmothers book, we entering into her text, her words, her experience. The text draws us into a night at the camp. “Dark night. More than a thousand women are asleep on strange scaffoldings, in one great room. A thick darkness, filled with breathing and exhalations. Even the blankets which you never see by day light seem a part of the darkness…And while you lie immovably in the dark cavern of your bed you must throw off the weariness…” SILENCE The SS were leading the surviving prisoners in a long column, headed for Germany, Grandma was among them. One of the women she knew stole a sheet. They lay on the ground and covered themselves with it. In the falling snow, no one noticed… Her eyes looking directly at us, the dots of her dress, my grandmother’s concentration camp photograph. She and the viewer exchange looks, the viewer is placed in a strange position, in the footsteps of the person who took the photograph, possibly an SS officer. This is the only artifact I use from the event, it begs for a respectful distance on the part of the viewer making my grandmother’s forward glance all the more salient. There is a voice which leads us to the last section of “Inscriptions.” “I tired to find grandma in the fields of Birkenau. I knew that she walked in those fields and that her footsteps were once imprinted in the mud. The fields are like a graveyard, the chimneys stand alone, emaciated figures that have stayed here, ghosts resembling tombstones.” My grandmothers memories have been transposed to her book, this segment is composed of book after book in her memory. It was not until after I finished this piece that I learned about the Jewish tradition of the yisker biher, which translates literally into “Tombstones of Paper”. These books were made by survivors to commemorate those who had perished, they are a collection of photographs and stories, an attempt to remember and preserve what once was. When I had finished this book, I began caring it with me often. When I met with the artist Krzysztof Wodiczko he was intrigued by how this book travels with me in a simple box, a token and fragment that I carry with me like an immigrant would carry his most cherished belongings. I see this book as a fingerprint that refers to a specific experience and event. It serves as a link to my grandmother’s experiences and memories. Her text placed within the framework of my photographs are personal traces and to use her words “drops in the vast immeasurable ocean”. The images are artifacts of an emotional experience, which have been embossed on my identity. My work is a trace, a residue of a time still remembered. We have reached the twilight of Auschwitz as living memory. It still lingers in the memories of the few survivors living today. It has slowly begun to reside in a world removed from the personal, becoming a part of written 16
history. For me, the events of the Second World War abide on a psychological island between the personal and the historical, the ineffable and the tangible. “History, and particularly history after Auschwitz, can be encountered, grasped, and understood only through the acknowledgement of the very inaccessibility of its original occurrence and experience.” 3 NOTES 1. Minh-Ha, Trinh T. “Grandma’s Story” in Blasted Allegories, edited by Brian Wallis. The MIT Press, Massachusetts Institute of Technology, 1989, p.6. 2. Maclear, Kyo. Beclouded Visions—Hiroshima and the Art of Witness, State University of New York Press, 1999. p. 12. 3. Saltzman, Lisa. Anselm Kiefer and Art After Auschwitz, Cambridge University Press, 1999. p.16. 17
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SECTION 1: Keynote Address Undoing
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THE SCHOOL OF VISUAL ARTS NATIONAL
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[Both please.] There’s another pa
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actually this mountain on top is an
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detail. This is from a digital high
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that those religious mysteries whic
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scream into clarity and the effect
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a nutshell our conflicted attitude
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Dr. Stafford: Well, I’m trying re
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CROSS DISCIPLINARY STRATEGIES TO RE
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layering of dissonant imagery of th
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TRANSLATIONS OF MEMORY: PERSONAL ES
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When I asked my students to write p
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FACE VALUE: PORTRAITS AND MEMORY Da
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emotional expression in the human f
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A first step might be a rejection i
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THE ART OF THE NAME OR THE NAME OF
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“ST. JOHN THE EVANGELIST,” OR
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elationship with Jesus than does Pe
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There are several different philoso
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has not been explicitly named by th
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THE ROLE OF MEMORY IN CULTURE Rapha
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Dreaming without lucidity of any ki
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imitative learning. Grazio Fiorito
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ain organization, hormone-disruptin
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once, but most of the time it is a
Page 53 and 54: species evolving objectivity and lo
Page 55 and 56: institutional frameworks and laws t
Page 57 and 58: Memories of the intellectual past s
Page 59 and 60: But an important variable is being
Page 61 and 62: surfaced again and continues to ass
Page 63 and 64: In an abstract of an article entitl
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Page 67 and 68: This is a description of some 4 mil
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Page 73 and 74: primitive ceremonial burial of some
Page 75 and 76: BOXES OF REMEMBRANCES: THE JEWISH R
Page 77 and 78: are as beautifully and precisely ma
Page 79 and 80: IV. BINDING AND PRAYING: THE TEFILL
Page 81 and 82: Symbolic as these words are, they b
Page 83: 8. The Eternal Present, the Beginni
Page 86 and 87: Concordance to Tent of Meeting and
Page 88 and 89: Tefillin of the Head (Shel Rosh) Th
Page 90 and 91: optimally-sized for processing spee
Page 92 and 93: movement can be seen to take on ren
Page 94 and 95: THEIR FACES BRIEF AS PHOTOS (John B
Page 96 and 97: in the Ghetto’s orphanages and ch
Page 98 and 99: A small man with glasses with a gen
Page 100 and 101: Wiesel Elie. Night. New York: Banta
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Page 106 and 107: SEWING PLANTS: THE INTERTWINED HIST
Page 108 and 109: colleges for women. And there were
Page 110 and 111: While Grierson’s needlework in pi
Page 112 and 113: Lang, L. (2001, January/February).
Page 114 and 115: difficult to find a full reconcilia
Page 116 and 117: 6. COLLABORATION Quite by accident
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Page 120 and 121: EXHIBITING 9-11: A HISTORIOGRAPHY L
Page 122 and 123: Batchen also points out that many m
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Page 126 and 127: PHOTOGRAPHY THROUGH DOCUMENTATION A
Page 128 and 129: Representation” in the late 1990s
Page 130 and 131: MERITORIOUS OR MERETRICIOUS Jacquel
Page 132 and 133: Images which once glimpsed pierce o
Page 134 and 135: humans who sometimes against great
Page 136 and 137: However, when an artist placed the
Page 138 and 139: national and international exhibiti
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Page 142 and 143: REMEMBERING RABINDRANATH TAGORE Mar
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Page 146 and 147: Let me conclude with two poems from
Page 148 and 149: MONUMENTS IN MINIMALISM: SAFELY UNI
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horribly immediate manner. There is
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ead. 8 Only when the beautiful soul
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Brâncu_i, too, preferred to carve
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(1912, 1913, 1920, 1931), among oth
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10. On Easter Monday, for example,
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47. Women who are menstruating or i
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MOURNING, ABSENCE, AND TRAUMA: REPR
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(1991) is an extended meditation on
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a storm of controversy for its univ
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1938, completed in 1991, includes w
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fan shaped forms; these images are
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The only way out of the building is
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WITH A PEN AS HIS WORD AND ME AS HI
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FROM IDEALISM TO TOTALITARIANISM: T
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embodiment of the age of enlightenm
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Yale University Press, 1986), p. 10
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“yes well, to be sure they all mi
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characterized various ancient civil
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(whichever “them” is most handy
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There are those who would dismiss s
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TEACHING ART EDUCATION IN A STUDIO
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artworks motivate and inspire stude
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VERS COLLAGE: THE REMEMBRANCE WORK
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On that day when the wall is breach
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often enough to become a social tru
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define his identity and function in
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SECTION 1 - via - School of Visual Arts

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