Introduction : The Ethical Potential Of Photography In her essay “ Surviving Images : Holocaust Photographs and the Work of Postmemory
@inproceedings{Hartman2001IntroductionT, title={Introduction : The Ethical Potential Of Photography In her essay “ Surviving Images : Holocaust Photographs and the Work of Postmemory}, author={G. Hartman}, year={2001} }
“One’s first encounter with the photographic inventory of ultimate horror is a kind of revelation, the prototypically modern revelation: a negative epiphany. For me, it was photographs of Bergen-Belsen and Dachau that I came across by chance in a bookstore in Santa Monica in July . Nothing I have seen—in photographs or in real life— ever cut me as sharply, deeply, instantaneously. Indeed, it seems plausible to me to divide my life into two parts, before I saw those photographs (I was twelve… CONTINUE READING
69 Citations
"Pretty as Pictures": Family Photography and Southern Postmemory in Porter's Old Mortality
- History
- 2008
- 4
The Spectral Evidence of Photography in Rachel Seiffert’s The Dark Room: An Album of Fractured Lives
- Art
- 2013
- PDF
LOOKING FORWARD TO THE PAST: BAROQUE ROCK’S POSTMODERN NOSTALGIA AND THE POLITICS OF MEMORY
- Art
- 2017
- PDF
References
SHOWING 1-3 OF 3 REFERENCES
See also Cornelia Brink ’ s response and elaboration of my argument in “ ‘ How to Bridge the Gap ’ : Überlegungen zu einer fotographischen Sprache des Gedenkens
- Die Sprache des Gedenkens : Zur Geschichte der Gedenkstätte Ravensbück
Within Living Memory
- Telling Tales ( Exhibiton Catalogue )