Abstract
ABSTRACT This article explores Holocaust photography at the interface of historical research and curatorial practice. It focuses on a case study, the touring exhibition The Eye as Witness: Recording the Holocaust (EaW), which uses a range of different media and technologies to present photos as difficult and ideologically charged artifacts, and articulates a critique of current Holocaust exhibition practice and museum pedagogy. My analysis draws on my own experience of working with a team of academics and museum staff from the UK’s National Holocaust Centre and Museum (NHCM) on the making of this exhibition.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
