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‘To remember, not to forget’

Visual Representations in the Yad Vashem Travelling Exhibition

Auschwitz: at the Edge of the Abyss

Project submitted by:

Name: Richard Leo

Profession: Head of Humanities, Nambour Christian College, Nambour, QLD

Address: 36 Quiet Valley Cr, Buderim, QLD, Australia, 4556.

Email: rleo01@ncc.qld.edu.au

Project Goals: by the end of the unit, students will be better able to

Identify images of the Shoah / Holocaust

Critically analyse representations of the Shoah / Holocaust

Carry out a site study focusing on how people have responded to the Shoah / Holocaust

Develop a compassionate understanding of the suffering experienced in the Shoah /

Holocaust

Journal their own response to the events of the Shoah / Holocaust

Age group: Years 10 – 12 (chronological age 14-18 years old)

Subject area: History, Study of Religion, Art

Rationale:

This is a teacher’s educational guide for use with the travelling exhibition Auschwitz – the Depth of the Abyss.

This exhibition intertwines The Auschwitz Album and the Zinovii Tokatchev Auschwitz series into one display

that is powerful in its use of visual imagery to tell interconnecting stories of the Shoah (Holocaust). Whilst the

travelling exhibition is designed for the general public, this unit of work is intended to support a teacher

wishing to use this display with an adolescent class of students. This unit should still hold relevance without a

visit to the travelling exhibition as teachers will be able to access the digital materials of the Auschwitz Book

and Tolkatchev’s artwork that has been made available on the website of Yad Vashem, Jerusalem. Through

the use of an inquiry process, supported by a journaling process, students will investigate how the history of

Auschwitz, as told by both ‘perpetrator’ and ‘liberator’ can be determined using these images as historical

documents.

Pedagogical or methodological remarks:

It is recommended to teachers that the inquiry process developed in this unit be supported through the use of

student journaling. James Moore (Moore, 1988, pp 163 – 4) identifies a number of benefits to students in

conducting such an exercise. He suggests that the journal format encourages students to respond in ways

other than through their intellect; the form used on a daily basis encourages interdisciplinary responses (eg

poetry, sketches, and dialogue). Journaling also allows students to see their own growing understanding and

appreciation of the victims of the Holocaust. Students will also be confronted with their own views, even

prejudices, if the journal entries are carefully directed and targeted. This unit offers many opportunities for

students to journal their responses, some explicitly directed, and teachers will observe other opportunities as

they work through the unit with their students. Journaling can be completed in the traditional ‘paper’n’pencil’

format or the use of information technologies can be utilised by encouraging students to record their thoughts

in the form of a ‘blog’. There are a number of websites that support blogging technologies that teachers will

be able to incorporate into their teaching practices.

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Framing: What was day-to-day living like for Jewish people?

Framing Activity #1: ‘I am a Camera’

Imagine that you have been asked to document your life. You are to try to represent who you are,

your family’s origins, beliefs and culture.

a) You are to document one day in your life using a camera. What images would you choose

to reflect the ‘essence’ of who you are and how you live day by day?

Now look at the following image. This image is a ‘snapshot’ of a moment in time of one day in the

life of the people shown. Use the prompts below to summarise what you can learn about the

people represented and what was being experienced on this day. Look at such aspects as:

Who are the people in the

photograph

Where these people are living

When did these people live?

The expression on the faces of the

people

Their clothing

The various people in the background

The genders and ages represented

The weather

Any activity taking place

[Photograph ID# 15216: http://www.yadvashem.org/ ]

If you only had this image to tell you about how Jewish people experienced life in the Ghettoes what

would you conclude? Complete the following sentence:

Based on this piece of evidence I would determine that ____________________________________

_________________________________________________________________________________

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[Photograph ID# 15216: http://www.yadvashem.org/ ]

Under the Nazi’s regime in Germany, the Jewish people were gathered together and forced to live in

small, often walled-off communities, known as ‘ghettoes’. There was usually an armed presence at

the entrances and access in and out of the ghettoes was strictly controlled. This photograph was

taken by a Nazi soldier, Heinz Joest, on September 19, 1941. He had managed to get permission to

spend his 43rd birthday within the Warsaw Ghetto taking photographs, although it was normally

forbidden.

What does this image indicate to you about what the people living in the Warsaw ghetto

were like?

What does it tell you about how people approached their daily lives in the ghetto?

What can you learn about the cultural identity of the people in this photograph?

For the people living in the ghetto, what indication does this photograph give you about

what they believed the future held for them?

Joest’s title for the photograph was ‘Jews wearing armbands in a ghetto’. What can you

learn about the interests of the photographer?

The following year after this photograph was taken, the process of deporting Jews from the Warsaw

Ghetto to camps such as Auschwitz had begun. For the people represented in Joest’s photographs,

there would have been no understanding or premonition of the events that were to occur in these

camps over the next three years.

Note to teacher: Joest took a number photographs representing life in the Warsaw ghetto and a

range of these photographs can be located in the digital collections at the Yad Vashem website:

http://www.yadvashem.org/ Search for ‘Joest’ in the digital photo collection.

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Framing Activity #2:

You have one hour to prepare your luggage before you must leave the ghetto where you are

currently living and moved to another location. Your luggage will obviously contain all that you think

you will need to survive and maintain your family identity. What will you include? It must not weigh

more than 15 kilograms.

Now look at the following image. Use the prompts below to summarise what you can learn about

the people represented and what was being experienced on this day. Look at such aspects as:

Who are the people in the

photograph

What is happening?

When did these people live?

The expression on the faces of the

people

Their clothing

The various people in the background

The genders and ages represented

The weather

Any activity taking place

Where did they come from?

How did they get here?

Image of women and children waiting in a small wooded area, from

http://www1.yadvashem.org/exhibitions/album_auschwitz/photo39.html

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Investigating: What was Auschwitz and why did exist?

Activity #1:

What can you learn about the camp from aerial photographs of the Auschwitz campsite?

See the following link for aerial photographs:

http://www1.yadvashem.org/exhibitions/album_auschwitz/air_photographs.html

Describe what you see to be the most important benefits of aerial photographs.

Are images from above always helpful?

What are the limitations of aerial photographs?

Activity #2:

The Yad Vashem website contains a number of images of a typical day at Auschwitz. The photos were taken at the

end of May or beginning of June 1944, either by Ernst Hofmann or by Bernhard Walter, two SS men whose task was

to take ID photos and fingerprints of the inmates. These images are known today as The Auschwitz Album and were

donated to the Yad Vashem museum by Lilly Jacob-Zelmanovic Meier, a survivor of the camp. You are to peruse

these images and using the table given to you above identify what occurred in a typical day at Auschwitz during

1944. After you have perused the images and attempted to describe a ‘typical’ day, view the audio-visual

introduction clip that will give you a brief introduction to the horrors of Auschwitz. After viewing the multi-media

clip, take the opportunity to journal what you have learned about what happened at Auschwitz and your emotional

response.

To the Student:

To view the images you will need to click on the link ‘The Album’ at:

http://www1.yadvashem.org/exhibitions/album_auschwitz/index.html

To view the multi-media AV Clip you will need to click on the link ‘Multi-media’ at:

http://www1.yadvashem.org/exhibitions/album_auschwitz/index.html

To the Teacher:

For a further depth study of the workings of Auschwitz-Birkenau it is recommended for teachers to utilise the

resources provided in the catalogue of lesson plans at Yad Vashem:

http://www1.yadvashem.org/yv/en/education/lesson_plans/auschwitz_birkenau.asp

Your inquiry task:

In this inquiry, you are going to investigate how the Shoah (meaning ‘destruction’, this is the Hebrew name

for the event known as the ‘Holocaust’) was enacted through the camp of Auschwitz, how this event has

been presented, both by the people who perpetrated the Holocaust but also those who are regarded as

liberators (those who freed the prisoners of the Nazis). You are going to look at a range of photographs,

personal accounts and artwork that represent events that took place at Auschwitz. Many of these images

have been utilised in a travelling exhibition called Auschwitz – the depths of the abyss. You will be asked to

provide a judgment about this exhibition as a representation of history and how the experience of viewing

a display of this nature can be used to effectively inform people of the history of the Shoah against the

Jewish people in Nazi Germany.

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Investigating Auschwitz – what and why:

Key Heading What the Auschwitz Album tells us Knowledge from other sources

Who is involved?

From where do these people

come?

When do people arrive at

Auschwitz?

Why are people arriving at

Auschwitz?

How are people treated?

How do the Nazi soldiers act?

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Describe as fully as you can what a Jew would have experienced on arrival at Auschwitz based on what you can see

from these photographs. You could write this response in the space below or in your journal:

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

________________________________________________________________

Thought to consider: All of the photographs in The Auschwitz Album were taken by Nazi officers.

How do you think the fact the photographs were taken by the perpetrators of the Holocaust might shape the content of the photographs?

Given that these are Nazi documents, evaluate the purpose that these officers had in taking these photographs.

How does knowing who took the photograph help you to evaluate the purpose and usefulness of the photograph as evidence of events that took place at Auschwitz?

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Activity #3

The following account is about the process of being ‘resettled’ from a ghetto (the Ileresiendstadt ghetto) to

Auschwitz. Locate images from The Auschwitz Album that support the oral account given below. Print out a copy of

these images and include in the spaces provided in the account below. Highlight or identify the exact part of the oral

account that is supporting the image that you have chosen:

In March or April, 1944, we got the dreaded notice that we had been selected for resettlement farther east. The train cars they took us in were actually cattle cars. ….. There was not very much room between us and the roof of the cattle car. Our car had from 80 to 100 people in it so it was quite crowded. …. We had some water and some food but no comfort whatsoever. The cars were sealed. We could not open them from the inside. The windows were small, open rectangles.

…. At four o'clock the next afternoon, we arrived in Auschwitz in Poland. ….

The doors of the cattle car were yanked opened. The first thing we heard was shouts of, "Out, as soon as you can, out. Your belongings you leave there". Despite this we grabbed what we could and assembled outside. Before us stood an immense rectangle of land surrounded by electrically-charged barbed wire. This was the Auschwitz death camp.

We were assembled in long rows and marched between the troops of the SS special death-head division into the camp. We were marched up and down a broad avenue for four or five hours between posts of barbed wire with a huge sign, EXTREME DANGER, HIGH VOLTAGE ELECTRICAL WIRES. We saw guard towers high above us. We saw men with machine guns inside them, but even then we did not know that we were in a death camp. Back and forth and back and forth, they just kept us in motion. As it got closer to one o'clock in the morning, we were more and more desperate. You could hear more and more cries for food.

Finally they set out large boxes. Everybody had to put in their valuables. Women and men were forced to strip off their wedding rings and hand over their prized possessions like lockets of relatives no longer there. Whatever we had, we lost. Those who did not give up their possessions willingly or quickly were beaten. Then we were separated into male and female groups and walked to what they called the B camp of Auschwitz.

‘Rudy’, account recorded at http://library.thinkquest.org/12663/survivors/witness.html [retrieved 23 Aug, 2010]

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Reasoning: Witness to History – how does one respond to the horror of Auschwitz?

Activity #1

Read the following excerpt from the information about the exhibition Private Tolkatchev at the Gates of Hell. You

can read the complete extract at: http://www1.yadvashem.org/exhibitions/tolkatchev/about_exhibition.asp

Below are the thumbnails of the selected works available on the Yad Vashem website. View the artworks in full at

http://www1.yadvashem.org/exhibitions/tolkatchev/homepage.asp and use the information about the exhibition to

identify which of the artworks presented are from Majdanek and which are from Auschwitz. Place an A or an M

underneath each thumbnail below:

#2

Private Tolkatchev at the Gates of Hell: About the Exhibition

“I did what I had to do; I couldn’t refrain from doing it. My heart commanded, my conscience demanded, the hatred for

fascism reigned.”

With the USSR entering the war in June 1941, Tolkatchev volunteered to join the front. However, only towards the end of

the war, in Autumn 1944, did Army officials respond to Tolkatchev’s request, and he was sent to serve in the Political

Department in the First Ukrainian Front, which at the time was stationed in Lublin, adjacent to the Majdanek

extermination camp. …. Horrified by the scenes he witnessed, Tolkatchev, in a spiritual whirlwind, immersed himself for

thirty-five days with hardly any food or sleep, in painting the Majdanek series. Tolkatchev showed his initial works to a

member of the Polish-Soviet Nazi Crimes Investigation Commission, who urged him to finish the series before November

27, 1944, the opening day of the Majdanek camp commanders’ trial. The exhibition opened the day before the trial, at

the Lublin Art Museum and was reviewed extensively in the Polish press. In Lublin alone, 128,000 tickets were sold, and

from there, it traveled to other cities. In the Majdanek series, Tolkatchev’s was able to create, as if from nowhere, a set of

symbols that express the horrors of the Majdanek extermination camp.

…. “A cold winter wind howls over Auschwitz, surrounded by three rows of barbed-wire fence. It seems that it is not the

barbed-wire that trembles and howls, but the tortured earth itself which moans with the voices of the victims.” The

barbed-wire fences of Majdanek did not prepare Tolkatchev for his next mission. At the end of January 1945 he

accompanies the Nazi Crimes Investigation Commission to Auschwitz, literally hours after the entrance of the Red Army

into the camp. Again Tolkatchev is seized by the urge to capture the scenes, the voices. In the absence of drawing paper

he enters the camp’s former headquarters and takes stationery with bold black letters: Kommandantur

Konzentrationslager Auschwitz; I.G. Farbenindustrie Aktiengesellschaft; Der Oberpräsident der Provinz Oberschlesien. The

typography becomes an integral part of the composition and the image of the Nazi oppressor, who Tolkatchev refrains

from perpetuating, stands before us. As if possessed by madness, he draws sketches of what he sees. Abutting the

sketches he adds densely written lines with the testimony of the few survivors able to utter words. Adjacent, he jots

repeatedly – “to remember, not to forget”. By using meager materials of pencil and paper, intimate in scale, Tolkatchev

succeeds in creating art of monumental scope. The understanding that on these very same pieces of paper just a few

days prior were written orders of extermination endow them with a tragic power that causes one to shudder

_______ _______ _______ _______ _______ _______ _______ _______ _______

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Activity #2

‘To remember, not to forget’. This phrase is written by Tolkatchev as he draws what he sees on his arrival at

Auschwitz. We are going to consider whether you think that the images created by Tolkatchev are ‘art’ or ‘historical

documentation’. Do you think that the purpose of this art is to make us as the viewer to be upset; that is, to force us

to confront something that we would rather ignore?

Discussion questions

Compare the Auschwitz drawings with the art in colour from Majdanek. What is the difference in the effect

between the two groups of images on you as the viewer?

Which of the two groups of art do you find more effective? Why?

Should art be used to represent historical events?

Activity #3: The Story of Lisa

The following story is told by Tolkatchev as he tries to explain why he wanted to document the horrors he was seeing

in Auschwitz. It is an account of a woman named Lisa who is drawn in the image below. Before you read her story,

look at the drawing and write a response to the following questions in your journal.

‘Lisa’, 1945 (from Shendar, 2005, p. 74)

Respond to the drawing of ‘Lisa’ in your journal. As you respond consider:

The date it was drawn – what else was happening at the same time?

The caption or title – it is usually very blunt

The characters in the drawing – who are they? Why are they in the drawing?

Look for objects or for labels on characters. Look very carefully for these as they give strong clues as to what the drawing is about.

Look at the background – what impression is it trying to give?

Look at characters and think about how they have been in drawn in terms of size, bulk and their position in relation to each other or other items in the drawing

What are the facial expressions on the characters?

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The Story of ‘Lisa’ as recounted by Tolkatchev (Shendar, 2005, p. 73)

Before I reached the second storehouse, I noticed two women leaving in haste. One of them ran forward and

approached me. Unintentionally, my gaze was drawn to a pair of children’s shoes dangling by their laces that the

woman was holding in her hand. They were two different shoes-one bigger than the other, and of different colors…

I saw her hunger-ridden face, the wrinkles, the exhausted glance of her one remaining eye. From the empty socket of

her other eye flowed a mucous-filled tear.

Her friend caught up with her. I asked the one-eyed woman why she was carrying two different shoes, explaining that I

was an artist and it was important for me to know everything. “As a memento! I took them as a memento!” Again, a

large tear ran down her face.

We entered the storehouse to protect ourselves from the wind and snow, and here, next to the shoes of tens of

thousands of the dead, I heard Lisa’s story as told by her friend:

“…she struggled with the SS, who grabbed her children from her arms. One of them beat her with a sharp object in her

eye and she fainted. Her friends took care of her and saved her… Lisa took the only thing left- two shoes- one brown

and one blue. Shoes similar to those worn by her children… What did they do to us? How did they torture us!”

The friend finished telling Lisa’s story, pained and grieved…I looked at her and listened. Her story was tragic in a way

similar to a thousand other stories…

She hadn’t given up easily. She had struggled. The SS had crushed her body.

I couldn’t turn my eyes away from the facial expressions of these two young women. They radiated an intense vitality.

It was possible to imagine their charm.

“Lisa, Lisa,” she yelled again. My eyes surveyed the cold and foggy night. I felt the horrific transformations of time…

Lisa, Lisa, Mona Lisa. Everything in that scene was clear, harmonious, wondrous: the face, the hands, the folds of the

garment and the exceptional landscape in the background…

The more I contemplated her image, the more the riddle of her smile grew. Her face expressed emotion and thought.

So the great Leonardo da Vinci saw her and painted her. Writers and poets wove Mona Lisa into their works. She smiled

her small smile forever, through the generations. Her eyes radiated the tranquillity and joy of motherhood…The howls

of the storm drowned out the playing of the lute in my reverie…

How they mistreated her! What did they do to her? They broke her heart, humiliated her, crushed…The storm stopped.

The wind quieted down. The world was covered with a white blanket. A chilling silence prevailed. As if time had stood

still… as if time had no past… as if there would be no future… two bent over figures of women, disappearing in the

distance, fading, two figures merging into one…”

In “Lisa, Lisa”- the question asked by many- what happened to the world? To the definition of humanity and its

achievements? The Mona Lisa of da Vinci represented the high Renaissance, Lisa represents the model after the

Holocaust. Teodor Adorno, the philosopher, said that there are two timelines to the world-one from Genesis to the

Holocaust, and from the Holocaust –on. We cannot live the same way as we did; the Holocaust changed the western

civilization and the whole world, and we cannot ignore this event and its implications.

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Judging: Witness to History: Responding to Representations of the Holocaust

Discussion Questions: Lisa’s story

Activity #1

To the Student: Using the questions below to guide you, use your journal to reflect on Lisa’s story and her portrait.

How does Tolkatchev use his art to make sense of the horror of the Holocaust?

How does Tolkatchev force us to confront the nature of the Holocaust?

Tolkatchev’s style is described as a ‘documentary realism’. How do you come to understand the events of

the Holocaust better as an observer of this documentary realism?

In what ways does his art encourage you to understand the Holocaust that a mere photograph never could?

How is the history that he forces us to confront complimentary to the history we discover in The Auschwitz

Album. How is it different?

Tolkatchev’s art tends to focus on the individual. How do you think this approach helps us to come to terms

with huge numbers of people killed in the Holocaust (6 million)?

Is the visual telling of the history of the Holocaust more effective when presented in black-and-white or in

colour?

To the Teacher: These questions are designed to facilitate discussion and reflection on the story of Lisa. They can,

however, be used more generally during or after a visit to the travelling exhibition or using the material on the

website. In this situation a guided discussion or guided journal reflection for students on the representations of the

Holocaust that they have seen is suggested. Students are advised to refer to specific details in Tolkatchev’s work in

order to answer these questions.

Activity #2

Use the thoughts on the relationship between art and the Holocaust on the next page and your own ideas to develop

a SWOT chart on whether art (such as that done by Tolkatchev) is an appropriate response to the horrors of the

Holocaust.

Strengths Weaknesses

Opportunities Threats

Is art an appropriate response to the

Holocaust?

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Activity #2: the relationship between art and the holocaust cont.

Read the following opinions about the relationship between art and the Holocaust (all are from Amishai-Maisels,

1993, pp. 35 – 36). Use these thought to complete the SWOT chart on the previous page.

‘The times are hard enough for

me to bear as it is. If I had to

imagine details in order to

draw I should go off my head.’

– Max Beckmann when asked

to complete a series on the

horrors of the war

‘Attempts to depict acts of violence,

mutilated corpses and living bodies

racked, tortured and burned have been

sterile …. Whatever its provenance

[source], a canvas will be beautiful, or it

will not be …. Beauty is not the object of

art but its flesh and blood, its being ….

Painting dies when it is made to serve

alien purposes – Jean-Paul Sartre

‘How should art – how can art? – represent the inexpressibly

inhuman suffering of the victims, without doing an injustice to

that suffering? …. There is something disagreeable, almost

dishonourable, in the conversion of the suffering of the victims

into works of art which are then … thrown as fodder to the

world that murdered them’ – Lawrence Langer

‘…genocide, when it is

made into a cultural

possession … makes it

easier to continue

playing with the

culture that gave it

birth’ – Theodor W.

Adorno

‘Let us hope that the painters of the horror

of the present … will succeed in imprinting

their works for ever on the minds of anyone

who might wish to yield even a single step to

the Anti-Christ’ – Jan Masaryk

‘… wherever they [Holocaust art] are

seen they will stir the conscience of

humanity, and contribute their vivid

share to the solution of … social

problems’ – Herbert Read

‘We can ignore the images of the war

mutilated when they are presented as

“news,” but we are less able to dismiss

them when they are the result of the

artistic choice to make these images ….

Perhaps, if mutilated human beings are

our art, we will be less willing to create

them in life’ – Barry Schwartz

‘…ignoring the Holocaust *in art+ was

…a surrender to silence … and, by

implication, a concession to the forces

that created Auschwitz and would like

it forgotten. …the Holocaust is an

event so vast in its magnitude that the

raw facts cannot be grasped

intellectually or emotionally …*so that+

the correct moral lessons … be

learned.’ – Ziva Amishai-Maisels

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Reflecting: Responding to the Travelling Exhibition – Auschwitz: at the depth of the abyss

To the teacher:

Whilst the following exercises are most beneficial if one is able to take a class to see this exhibition, it is hoped that

materials provided here and on the website at Yad Vashem will allow similar teaching and learning opportunities to

occur in the classroom.

James Moore writes that ‘*w+e must learn to shape a story for our time now forever affected by our experience of

the events of the Holocaust’ (Moore, 1988, p. 165). He encourages us to use the skills and processes of journaling to

help us as individuals to come to terms with the historical, philosophical, and for many, the spiritual implications of

the Shoah. The travelling exhibition encourages us to engage on an inter-disciplinary level with the events of the

Shoah. Sometimes students are asked to carry out a site study which could be analysing the way in which a topic is

presented in a museum display such as the travelling exhibition. The following questions could be utilised by

students if they have the opportunity to visit the travelling exhibition or students could use the photographs of

previous exhibitions as shown on the next page.

As students view the travelling exhibition they should consider the following:

What can you see as you enter and wander through the exhibit?

Is historical content displayed clearly?

Are authentic objects used? Are these relevant to the time period?

Are text descriptions easy to read?

How do the surroundings influence the overriding impression of the exhibition?

How is the exhibition arranged and what messages does this arrangement convey?

Are a variety of perspectives identified in the exhibition?

Is the purpose of the exhibition to explain an event or argue a particular viewpoint?

At the end do I feel that I really understand this aspect of history?

My initial impressions of the exhibition are……?

My final judgement about the exhibition is……?

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Final Consideration and Reflection:

In your journal, consider how the artwork by Tolkatchev and the photographs of The Auschwitz Album combine in

the travelling exhibition encourage us ‘to shape a story for our time now forever affected by our experience of the

events of the Holocaust’. Consider the following in your final journal entry:

How do I feel about the topic now?

What is the "proper" way to commemorate the tragedy at Auschwitz?

How effective has my learning been?

How has this study helped my understanding of this period of history?

What have I learnt about and from this topic?

What connections can I see between this study and other studies I have already undertaken or might undertake?

Where do I stand in relation to other people, beliefs and cultures?

How have my attitudes and values been challenged, changed or strengthened?

How can I apply my personal learning to current issues?

Has this study helped me to decide how to live my life more purposefully, ethically or effectively?

What action can I take?

(Reflection questions adapted from Syllabus: Study of Religion, The State of Queensland (Queensland Studies

Authority) at http://www.qsa.qld.edu.au/downloads/senior/snr_study_religion_syll_08.pdf, p. 16 [retrieved 23

August, 2010]

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Representations of the travelling exhibition, Auschwitz – the depth of the abyss

Entrance to the exhibition at the United Nations, New York, 2005

Inside the exhibition at the United Nations, New York, 2005

Left: at the European Union, Brussels; Right: at the Dusseldorf Parliament, 2008

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Resources List

-----------, ‘The Auschwitz Album’, Yad Vashem [from

http://www1.yadvashem.org/exhibitions/album_auschwitz/index.html, retrieved 2 August, 2010]

-----------, ‘Guidelines for teaching about the Holocaust’, United States Holocaust Memorial Museum [from

http://www.ushmm.org/education/foreducators/guideline/, retrieved 23 Aug, 2010]

-----------, ‘Private Tolkatchev at the Gates of Hell: Majdanek and Auschwitz Liberated: Testimony of an Artist’, Yad

Vashem [from http://www1.yadvashem.org/exhibitions/tolkatchev/homepage.asp , retrieved 2 August, 2010]

-----------, ‘Rudy at Auschwitz’, What the camps were like, told through the eyes of people who suffered through them

[from http://library.thinkquest.org/12663/survivors/witness.html , retrieved 25 Aug, 2010]

-----------, 2008. Queensland Studies Authority: Study of Religion Syllabus. The State of Queensland (The Queensland

Studies Authority): Brisbane [from http://www.qsa.qld.edu.au/downloads/senior/snr_study_religion_syll_08.pdf ,

retrieved 17 February, 2010]

Amishai-Maisels, Z. 1993. Depiction and Interpretation: the influence of the Holocaust on the visual arts. Pergamon

Press: Oxford.

Margaliot, O, 2010. ‘Teaching the Holocaust: Remembrance Here and Now’, Agora, vol 45, no. 1, pp. 58 – 63.

Moore, JF 1988. ‘Crossing the Experience Barrier: teaching the Holocaust to Christian Students’, in Garber, Z,

Methodology in the Academic Teaching of the Holocaust. University Press of America

Shendar, Y (ed). 2005. Private Tolkatchev at the Gates of Hell: Majdanek and Auschwitz Liberated: Testimony of an

Artist. Yad Vashem Art Museum: Jerusalem.