Administered by City of Boston Office of Cultural Affairs Boston City Hall, Room 716 Boston Massachusetts 02201
Located Carmen Park Congress Street between North & Hanover Streets Boston Massachusetts
Save Outdoor Sculpture, Massachusetts survey, 1996.
A memorial to the Holocaust consists of six steel tower-like structures placed at regular intervals along a straight pathway, each structure represents a concentration camp --Belzac, Auschwitz, Sobibor, Majdanek, Treblinka, and Chelmno. The towers have glass walls that are etched with one million 7-digit numbers that represent the identification numbers tattooed on Holocaust victims. The towers rise above a grate-covered pit that glows and steams with burning coals. Between the towers are markers inscribed with the history of the Holocaust. Leading to the towers on both ends of the walkway are tablets inscribed with names of contributors, project information, and Holocaust background. A time capsule is buried at one end of the memorial.
Art Inventories Catalog, Smithsonian American Art Museums
Witness : images of Auschwitz / illustrations by David Olère, prisoner at Auschwitz 1943-1945 ; text by Alexandre Oler, his son
Olère, David 1902-1985
Oler, Alexandre 1930-
Auschwitz (Concentration camp)
65 p. : ill ; 23 x 26 cm
"... this is an advance reading copy from an unedited manuscript. It is intended for review purposes only. The completed book will contain additional illustrations, including five paintings reproduced in full color"--P.  of cover.
Dino Brugioni (b. 1921) is the former Chief of Information at the Central Intelligence Agency's (CIA) National Photographic Interpretation Center (NPIC). He flew a number of reconnaissance missions during World War II over North Africa, Italy and Germany, for which he received the Purple Heart and many other citations. After the war, Brugioni received BA and MA degrees in Foreign Affairs from George Washington University. In 1948, he joined the CIA and became an expert in Soviet industries. In 1955 Brugioni was selected as a member of the newly formed NPIC that would interpret Lockheed U-2, Lockheed SR-71 (Blackbird), and satellite photography. During Brugioni's 35 year career, he helped establish imagery intelligence as an national asset to solve intelligence problems. Brugioni's aerial reconnaissance work played a major role in discerning the US/USSR bomber and missile camps during the Cold War, and provided evidence for the Cuban Missile Crisis, the Vietnam War and the Yom Kippur War. After retirement, he encouraged the use of declassified photographic intelligence for historical research. Brugioni was one of the first historians to present photographic evidence of Auschwitz in the 1970s when he located film footage from a reconnaissance aircraft photographing a bombing run on a nearby Farben factory. Brugioni is also an authority on contrived or altered photography. He has written numerous books and articles on his field and received numerous citation and recommendations for his role in reconnaissance.
This collection consists of 27 cubic feet of material relating to aerial reconnaissance, including the following types: aerial photography collected by Brugioni; lectures and interviews by Brugioni (on videotape); articles written by Brugioni; and the published secondary sources he collected to write those articles. The collection consists of five series. Series 1 consists of the binders created by Brugioni for his aerial reconnaissance research; Series 2 and 3 consists of subject folders relating to aerial reconnaissance; Series 4 consists of 700 scanned images of original photographs retained by Brugioni as well as copies of the following two reports: "The Holocaust Revisited: A Retrospective Analysis of the Auschwitz-Birkenau Extermination Complex," by Dino Brugioni and Robert Poirer, 1979 and "The Tighe Report," 1986; the last series consists of the videotaped lectures and interviews.
Dino Brugioni Collection, Accession 2012-0004, National Air and Space Museum, Smithsonian Institution
Read more at http://www.smithsonianmag.com/history-archaeology/Can-Auschwitz-Be-Saved.html From the moment they arrived at the concentration camp, Jews and other Holocaust victims were treated like animals, and only a lucky group survived the experience.
Inge Prokot : Opfer-Täter : Auschwitz, Terror, Krieg : Kölnische Galerie des Kölnischen Stadtmuseums, 22. März - 27. April 1997 = Victim-Culprit / mit Texten von Paul Celan ... [et al.] ; mit Beiträgen von Michael Euler-Schmidt, Günther Bernd Ginzel, Alphons Silbermann
Surviving visions : the art of Iri Maruki and Toshi Maruki : an exhibition at the Massachusetts College of Art, Boston, Massachusetts, March 30-April 28, 1988 / edited by Henry Isaacs and John Junkerman ; introduction by John W. Dower
Maruki, Iri 1901-1995-
Maruki, Toshi 1912-2000-
Massachusetts College of Art
Maruki, Iri 1901-
Maruki, Toshi 1912-
Auschwitz (Concentration camp)
40 p. : ill. (some col.) ; 27 x 30 cm
Title in Japanese on added t.p.: Ikitsuzukeru shikaku.
The last expression : art and Auschwitz / edited by David Mickenberg, Corinne Granof, Peter Hayes
Art and Auschwitz
Mickenberg, David 1954-
Mary and Leigh Block Museum of Art
Davis Museum and Cultural Center
Brooklyn Museum of Art
Auschwitz (Concentration camp)
xv, 272 p. : ill. (some col.) ; 31 cm
Published in conjunction with a traveling exhibition held at the Mary and Leigh Block Museum of Art, Northwestern University, Evanston, Ill., Sept. 27-Dec. 8, 2002, the Davis Museum and Cultural Center, Wellesley College, Wellesley, Mass., Jan. 7-Feb. 14, 2003, and the Brooklyn Museum of Art, Brooklyn, N.Y., Mar. 7-June 15, 2003.
After Auschwitz : responses to the Holocaust in contemporary art / edited by Monica Bohm-Duchen
Northern Centre for Contemporary Art (Sunderland, Tyne and Wear, England)
160 p. : ill. (some col.), map ; 28 cm
Published on the occasion of the travelling exhibition 'After Auschwitz: Responses to the Holocaust in contemporary art'.
A kind of survivor / George Steiner -- The Nazi holocaust : its moral, historical and educational significance / Ronnie S. Landau -- The complexities of witnessing ; Art confronts the holocaust / Ziva Amishai-Maisels -- Memory and counter-memory : towards a social aesthetic of holocaust memorials / James E. Young -- Fifty years on / Monica Bohm-Duchen -- Artists' statements -- List of works in exhibition
Überleben und widerstehen : Zeichnungen von Häftlingen des Konzentrationslagers Auschwitz 1940-46 : [Ausstellung] / Deutsch-Polnischen Gesellschaft der Bundesrepublik Deutschland e. V. und des Staatlichen Museums Oświęcim-Brzezinka ; Redaktion, Marina Stütz ; Übersetzung, Christine Kopka, Marina Stütz.]
El altar de mi bisabuelo/ My Great Grandfather's Altar, from the series Santos y sombras/ Saints and Shadows
Muriel Hasbun, born San Salvador, El Salvador 1961
gelatin silver print
image: 17 5/8 x 13 3/4 in. (44.7 x 35 cm) sheet: 19 7/8 x 15 7/8 in. (50.5 x 40.3 cm)
Hasbun captures pictures within pictures and overlays multiple exposures in one print to explore the events that compelled her family to migrate. Portraits arranged in an altar-like fashion memorialize relatives long gone. The central photo in one scene shows her great-grandfather in front of the Greek Orthodox altar he built in El Salvador after he fled there from Palestine. The other photograph seen here is an ethereal portrait of Ester, her Jewish great-aunt who survived the Nazi concentration camp at Auschwitz.
Our America: The Latino Presence in American Art, 2013
Still life\art object\photograph
Smithsonian American Art Museum, Gift of Mr. and Mrs. Charles H. Moore
Songs of the ghetto [sound recording] / sung by cantor Abraham Brun
Clyne, Ronald 1925-2006
1 phonograph record : analog, 33 1/3 rpm ; 12 in
Cover design by Ronald Clyne. Photographs by David Gahr.
Biographical note, introductory notes, and texts of the songs with English translations (6 p. : ill.) inserted in original cover.
"The songs on this record are part of the large cycle of artistic expressions in song and music given by the inmates of the ghettos, labor camps and death camps to the infernal conditions in which they lived and died." -- text from notes.
During WWII, the term "ghetto" took on new meaning as a place where Jews in Nazi-controlled Europe were required to live, usually later to be transported to the concentration camps. Ghetto residents often turned to music to express their sorrow or to ease their burden. While many of the songs relate directly to the Holocaust, others concern Jewish life in Eastern Europe prior to WWII. The songs selected for this recording are all in Yiddish, traditionally the primary secular language of Eastern European Jews. Cantor Abraham Brun (1909 - 1998) is uniquely qualified to sing these songs. Born in Lodz, Poland, he is a Holocaust survivor, having been confined to the Lodz Ghetto and later having been sent to Auschwitz. He had performed these songs in the Ghetto.
United States\New York\Kings\New York\Manhattan Island
Born Brussels, Belgium
Forty years ago, Diane Von Fürstenberg designed the iconic wrap dress that continues to captivate women from Madonna to Michelle Obama, Beyoncé to Kate Middleton. With its zipperless, buttonless construction, the dress allows its liberated wearer to move comfortably from home to the workplace to the evening and still look powerful, polished, and feminine. Von Fürstenberg says, “It’s the dress that . . . paid my bills, gave me my fame, and allowed me to be free.” Born in Belgium to Jewish parents, Von Fürstenberg credits her mother, a former prisoner in the Auschwitz concentration camp, for teaching her that “fear is not an option.”
Von Fürstenberg and artist Anh Duong share a bond as feminists. Duong began the portrait by painting one eye on the canvas and then worked the rest of the body around it. Von Fürstenberg noticed that in that one eye, “she completely and totally captured me.”
Cosmogony of Desire
Diane von Fürstenberg nacida en 1946
Nacida en Bruselas, Bélgica
Hace cuarenta años, Diane von Fürstenberg diseñó el emblemático vestido cruzado que sigue cautivando a las mujeres desde Madonna hasta Michelle Obama, Beyoncé y Kate Middleton. Confeccionado sin zíper ni botones, el vestido permite a su liberada dueña ir con comodidad del hogar al lugar de trabajo y continuar hasta la noche viéndose siempre segura, refinada y femenina. Von Fürstenberg dice que “Es un vestido que [...] pagó mis cuentas, me trajo fama y me permitió ser libre”. Nacida en Bélgica de padres judíos, Von Fürstenberg agradece a su madre, quien estuvo prisionera en el campo de concentración de Auschwitz, que le enseñara que “el miedo no es una de mis opciones”.
Von Fürstenberg y la artista Anh Duong comparten el vínculo de ser feministas. Duong comenzó el retrato pintando un ojo y en torno a él trabajó el resto del cuerpo. Von Fürstenberg observa que en ese ojo “me captó por completo”.
Anh Duong (nacida en 1960)
Óleo sobre lienzo, 2001
Donación de Diane von Fürstenberg
Diane von Fürstenberg: Female
Diane von Fürstenberg: Visual Arts\Designer\Fashion Designer
National Portrait Gallery, Smithsonian Institution; Gift of Diane von Fürstenberg
Congregation Beth El 1010 Charleston Drive Tyler Texas 75703
Dedicated April 18, 1993
Save Outdoor Sculpture, Texas survey, 1993.
A monument to the Jewish victims of the Holocaust consisting of five concentric circles, mounted one above the other to form a cone shape. Each ring is made up of small figures portraying such landmark events as the anti-Semitic Nuremburg Laws enacted by Germany in the early 1930's; the Nazis infamous book-burning rituals; and the shattering devastation of "Kristallnacht." Soaring flames and barbed wire are symbolic of imprisonment, torture, and genocide. At the top of the memorial is a figure holding aloft a torah, and the topmost scene is of children playing. The scenes that follow are of increasing horror. The concentration camps are symbolically represented by the front gates of Auschwitz, emblazoned with the words "Arbeit Macht Frei" (work makes you free). Also represented are the death trains transporting prisoners. At one level is a depiction of the German troops' mass arrests of the Jews, and at another level are the Allied armies, liberating the camps which contain the skeletal survivors. Hope and promise for the future are symbolized by a depiction of barbed wire transforming into branches of laurel and olive trees.
History--Europe--World War II
Art Inventories Catalog, Smithsonian American Art Museums