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COND A R Y

WITNESSES

WSU professor explores
memory and meaning of World War II
through Holocaust imagery
created by post-war artists.

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Jeffrey Wolin: 'Moses
Wloski, b. 1921,
Wolkowisk, White
Russia," from "Written in
Memory: Portraits of the
Holocaust," 1997.

12/13

2002

82

ora Apel began tracking new vocabu-
laries before writing_her book about
the Holocaust, but words really were
- not what she was seeking. Apel, the
W. Hawkins Ferry chair in modern and contem-
porary art history at Wayne State University, was
looking for distinctive visual vocabularies to
express a subject critical to her own life.
The result, Memory Effects: The Holocaust and
the Art of Secondary Witnessing (Rutgers University
Press; $28), introduces images created by artists
born after World War II and analyzes the individ-
ualized approaches they have chosen.
First, Apel, as a college professor teaching about
a select subject, reveals the nature of each artist as
well as each form of expression. Its only through
the "Epilogue" that the author's own story, and
the impetus for the book, is communicated.
"I think I've been working up to writing this
book my whole life," says Apel, approaching 50.
"When I was a small child, our household was
steeped with memories of the Holocaust, but it
took time for me to actually put that all together.
"For my doctoral dissertation, I worked on the
memory and meaning of World War I, and that
became a prelude to working on the memory and
meaning of World War II in the form of post-war
imagery about the Holocaust.