How and why have artists since the 1960s criticised the museum?
The post-world War II era witnessed the emergence of a counter-cultural movement, which started in the 1960s in the United Kingdom and then spread to…
Author: Malina
Becoming Universal Part 5: A Conclusion
This study has shown that the visual responses to the Holocaust that have been discussed are by no means purely mimetic or testimonial, aspects which…
Becoming Universal Part 4: In what ways do the paintings discussed contribute to the emergence of the metanarrative of the Holocaust?
1. Marc Chagall’s symbolic use of Christian iconography. The previous two chapters have explored the ways in which these paintings challenge and reflect the contemporary…
Becoming Universal Part 2: How does Apocalypse en Lilas, Capriccio (1945-1947) engage with the contemporary metanarrative of the Holocaust?
Known as the quintessential Jewish artist of the twentieth century, Russian-French artist Marc Chagall was raised in the Hasidic Jewish tradition. His religious…
Becoming Universal Part 3: In what days does the Nous Ne Sommes Pas le Derniers series (1970-1990) engage with the contemporary metanarrative of the Holocaust?
By the time Zoran Mušič was working on his series in the 1970s, a shift in societal norms had taken place. Mušič was an artist…
Becoming Universal Part 1: An Introduction
Upon entering the term ‘Holocaust’ into Google in May 2020 the reader will be confronted with 93 million results in 0.40 seconds. This…