Page 127 - Jewish Book Annual Volume 48

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dren in special Jewish schools, but also studies the history of the
period with great care.
Testimony, Art o f the Holocaust
(Jerusalem, 1982). Inaugural catalogue
of the art museum at Yad Vashem.
Christian Boltanski: Lessons o f Darkness,
Mary Jane Jacob and Lynn
Gumpert (Chicago/Los Angeles/New York, 1988). Exhibition cat­
alogue of this contemporary artist whose work is haunted by the
Holocaust experience of his parents.
Giuseppe Guerreschi (Pisa, 1980). Drawings cycle which inter­
weaves Jewish and Holocaust thematic materials.
Osias Hofstatter, Zeichnungen und Aquarelle 1944-1979,
Karlheinz Gabler
(Kassel, 1983). A Holocaust survivor’s work, which still has res­
onances for this area of art.
We Are Not the Last,
Michael Gibson and Jean Clair (St. Thomas/V.I.,
1988). Catalogue of the work of Holocaust-based paintings of
Zoran Music.
Art and Exile: Felix Nussbaum 1904-1944,
Emily D. Bilski, with Peter
Junk, Sybil Milton, Wendelin Zimmer (New York, 1985). JMNY
exhibition catalogue, which shows powerful work of an artist gen­
erally forgotten, who may be a much more important figure than
previously assumed.
Remember Us to Life
(Berkeley, 1985). This exhibition catalogue of the
art of Lenke Rothman uses Holocaust-related themes of some in­
From Ashes to the Rainbow: A Tribute to Raoul Wallenberg.
Works by Alice
Lok Cahana, Barbara Gilbert, Barbara Rose, Alfred Gottschalk,
Sybil Milton (Los Angeles, 1986). This rich exhibition catalogue
confronts the complexities of Holocaust-based imagery placing this
within the context of provocative discussions about the role which
art and the artist have in this arena.
A Mission in Art, Recent Holocaust Works in America,
Vivian Alpert
Thompson (Macon, 1988). A wholly different approach to this
complex subject. In spite of problems in its definitions of what
is meant by Holocaust art, this book enriches the literature.
Bezalel 1906-1929 ,
ed. Nurit Shilo-Cohen (Jerusalem, 1983). Although
produced to accompany an exhibition, this extraordinary book is
more than a catalogue. It documents the Bezalel School and the
work of Boris Schatz in essentially creating a new cultural tradition.
The essays cover a full array of issues, and the photos and color
reproductions make this a major document.