The art: Christian Boltanski, The Storehouse, 1988.
The news: "The Hell of Victory," by Ian Buruma in The New York Review of Books. Buruma’s essay is a review of Ben Shephard’s new book, "The Long Road Home: The Aftermath of the Second World War."
The source: Collection of the Museum of Modern Art, New York. 
Nota bene: MoMA’s description of the work: Enlarged photographs of seven young girls are propped atop a stack of unlabeled tin biscuit boxes containing scraps of fabric. These boxes are corroded as if marked by time and are infused with symbolic associations — they evoke reliquary boxes, archival containers, and funerary urns. The black-and-white photographs connote another era; out of focus, they constitute a visual analogy to memory, fading over time. Electric lights illuminate the seven faces like devotional candles, underscoring the effect of a memorial, an orchestration of signifiers indicating loss and remembrance. Old photographs, the tension between individuality and sameness, and the implication of vast numbers evoke the tragedy of the Holocaust.
However, the girls pictured are not victims of genocide: the photographs, of anonymous children, were culled from magazines and newspapers. The boxes are not truly old, and the cloth contained in them is generic and has no special origin. Boltanski creates an atmosphere of general, unspecified mourning through means —photographs, relics — traditionally valued for their privileged claim to specificity, uniqueness, and authenticity. A vocabulary of documentary signs is used movingly, but deceptively, for symbolic effect.

The art: Christian Boltanski, The Storehouse, 1988.

The news: "The Hell of Victory," by Ian Buruma in The New York Review of Books. Buruma’s essay is a review of Ben Shephard’s new book, "The Long Road Home: The Aftermath of the Second World War."

The source: Collection of the Museum of Modern Art, New York. 

Nota bene: MoMA’s description of the work:¬†Enlarged photographs of seven young girls are propped atop a stack of unlabeled tin biscuit boxes containing scraps of fabric. These boxes are corroded as if marked by time and are infused with symbolic associations — they evoke reliquary boxes, archival containers, and funerary urns. The black-and-white photographs connote another era; out of focus, they constitute a visual analogy to memory, fading over time. Electric lights illuminate the seven faces like devotional candles, underscoring the effect of a memorial, an orchestration of signifiers indicating loss and remembrance. Old photographs, the tension between individuality and sameness, and the implication of vast numbers evoke the tragedy of the Holocaust.

However, the girls pictured are not victims of genocide: the photographs, of anonymous children, were culled from magazines and newspapers. The boxes are not truly old, and the cloth contained in them is generic and has no special origin. Boltanski creates an atmosphere of general, unspecified mourning through means —photographs, relics — traditionally valued for their privileged claim to specificity, uniqueness, and authenticity. A vocabulary of documentary signs is used movingly, but deceptively, for symbolic effect.

Posted by modernartnotes
November 28, 2011 9:49am  |   URL: http://tmblr.co/ZK7Y6yCXwyYw
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Filed under: art history portrait 
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    stunning. this has stuck with me for a while, occupying a chunk of my daydreamspace.
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