The Fine Art of Remembrance

  • Betty Rogers Rubenstein


What popular museum of modern art of art can do justice to the culture of genocide, so much a part of the 20th century? A context of harmony, balance and proportion does not seem to fit with the art of remembrance of the Shoah. We have only to compare the solemn regular rows of the stones at the cemetery in France for the soldiers fallen in the battle of the Somme with its classical chapel designed by George Howe to the raw, crude and random placement of the stones at Treblinka to realize that classical imagery will not do for memorializing the Shoah. In a museum setting there is often a kind of disconnect between aesthetics and culture in the 20th century.


Jewish History Zinc Surface Teaching Museum Western Viewer Conventional Architecture 
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  1. 2.
    Hilton Kramer, ‘Reflections on the End of the Century’, The New Criterion, 18/4 (December 1999): 4.Google Scholar
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    See also Victoria Newhouse, Towards A New Museum (New York: Monacelli Press, 1998), pp.96–97.Google Scholar
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    Interview: Daniel Libeskind with Doris Erbacher and Peter Paul Kubitz, Daniel Libeskind Jüdishes Museum Berlin, Verlag der Kunst, 1999. Photo essay by Hélène Binet, p.35.Google Scholar
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    Betty Rogers Rubenstein, ‘Henry Koerner and the Metaphor of the Bridge: A Study in Archetypes’, Essays in Arts and Sciences, 10/1 (May 1981): 1–19.Google Scholar
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    Betty Rogers Rubenstein, ‘The Eleventh Miracle’, The World and I, 9/9 (1994): pp.128–135.Google Scholar
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    Wendy Gittler, Jerome Witkin, The American Illusion, 1987–1997, Catalogue (New York, Ice Gallery of Art, 1998). Shards of Illuminations — The Recent Paintings of Jerome Witkin Google Scholar

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© Palgrave Macmillan, a division of Macmillan Publishers Limited 2001

Authors and Affiliations

  • Betty Rogers Rubenstein

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