Student Union opens ‘hasbara’ room in effort to fill public diplomacy vacuum.
The Jewish Children’s Museum
792 Eastern Parkway, Brooklyn, N.Y. 11213
The installation-like approach to the exhibition is its strongest and most innovative element, and shows great potential in considering ways to represent the Holocaust. However, it is only partially successful, and comes at a price. The large size of the photographs, and their free mounting on boards rather than on the walls, helps integrate the space, and also subliminally echoes the shapes of the tombstones that appear in several photographs, subtly conveying the suggestion of a graveyard. On the other hand, some of the photographs lose quality with the enlargement, and the tilt of the boards causes disturbing reflections on several of the pieces, giving a sense of haphazardness. In addition, the music, taken from Schindler’s List, is very theatrical, and instead of making the imagery more immediate, actually serves to create a distance from the act of witnessing, reinforcing the feeling that this is a story, rather than a reality. Nevertheless, Gati’s ambitious first exhibition shows he is dealing seriously and thoughtfully with both his subject matter, and his viewers.
Batnadiv HaKarmi Weinberg holds a masters in comparative literature, and has lectured at various institutions of higher learning in Israel, including the Hebrew University of Jerusalem. She is currently working towards a masters of fine arts at the New York Studio School.
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Written entirely through Frayda’s eyes, the reader is drawn by her unassuming personality.
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Printed from: http://www.jewishpress.com/sections/as-memories-fade-photos-testify-2/2009/12/16/
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