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March 29, 2002 - Image 83

Resource type:
Text
Publication:
The Detroit Jewish News, 2002-03-29

Disclaimer: Computer generated plain text may have errors. Read more about this.

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Protest posters made by yeshiva, students question the appropriateness of a controversial
exhibit at New York's Jewish Museum. Here, Alan Schechner's "It's the Real Think
Self-Portrait at Buchenwald" is juxtaposed with a similar treatment of the
World Trade Center disaster.

ed to guide the viewer.
A short, continuously running video
at the beginning of the exhibit shows
how the Holocaust has been depicted in
popular culture.
There are other thought-provoking
features at the end of the exhibit.
Another video briefly shows an art-
work, and then shows sound bites of the
artist, a Jewish leader and — in some
cases — a survivor discussing the partic-
ular piece. These snippets are among the
most gratifying parts of the exhibit
because dialogue itself is on display.
The museum also is not shy about
showing criticism.
"Why would I want to look at the
perpetrators?" survivor Jack Ahrens says
in the video. "I saw enough of them. It's
still glorifying them."
On a wall near the video are reprinted

quotes — some of them critical — that
have been made about the exhibit.
"With its appearance in the art world,
the kitsch and vulgarization of the
Holocaust has taken a big step forward,"
Nobel laureate Elie Wiesel is quoted as
having written recently.
In contemporary Western society, after
all, kitschification happens quickly. Even
Communist icons — Lenin statues, for
example, or nesting dolls of Soviet lead-
ers — became kitsch in the West almost
immediately after the fall of the Iron
Curtain in 1991.
The only question regarding
Holocaust kitsch seems to be: Why has
it taken so long — and what will be
next?

JTA correspondent Amy Sara Clark in
New York contributed to this report. ❑

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text.
'The exhibit is constructed to create
meanings over and above the artwork
itself," he said. "And that's what those
who haven't seen it are missing out
on."
In the long run, the artist, who
makes no money from his Holocaust
pieces, said: "I'm happiest when I've
made people think and create dia-
logue."
Schechner must be a very happy
man right now
In the view of Rebecca Phillips, a
producer of the Web site Beliefnet and
a granddaughter of survivors, over-

sensitivity to the subject will not
encourage people to think about what
the Holocaust will mean in the future
when those who are capable of giving
eyewitness are no longer around.
Exhibits like this are important
because "to declare the HolocauSt
beyond the realm of artistic inquiry is
to declare the Holocaust beyond the
realm of understanding," she said.
"And to do so is much more of a dis-
service to survivors and their families
than any artistic insensitivity."



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3/29
2002

83

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