The effect of the Holocaust on the literature of late 20th-early 21st century has been well documented. Its effect on visual representation and the art of the second and third generations only has come to attention more recently.
The panel discussion brings together three Bay Area artists, all CCA graduates, whose recent projects have been infused with the theme of the Holocaust, an art historian and a curator in an attempt to define the new visual parameters of the Holocaust effect- California College of the Arts
Gale Antokal was born in New York, New York, and received her MFA from the California College of the Arts in 1984. She is an Associate Professor in the School of Art & Design and Foundations Coordinator in the Pictorial area.
Antokal held several visiting artist positions and teaching positions including the San Francisco Art Institute, Instructor of Art History at the Lehrhaus Institute, and the American College in Jerusalem. In 1992 Antokal received a Visual Arts Fellowship from the National Endowment for the Arts. Her work is included in public, private and international collections.
Dora Apel teaches courses on modern and contemporary European and American art and photography.
She is the author of three books: Imagery of Lynching: Black Men, White Women, and the Mob, Lynching Photographs, co-authored with Shawn Michelle Smith, and Memory Effects: The Holocaust and the Art of Secondary Witnessing.
Alla Efimova is the Chief Curator at the Judah L. Magnes Museum.
Analisa Goodin, native to the Bay Area, is a practicing artist and writer entering the throes of her thesis in the Visual and Critical Studies program at CCA. Having lost her home in the Oakland Hills Fire of 1991, Goodin is currently exploring the loss of objects, spaces, and ideals as the subject for her thesis dissertation.
Looking at broader themes of of loss, memory, and recovery, Goodin engages these themes through the contemporary work of such artists as Felix Gonzalez-Torres, Rachel Whiteread, Rebecca Horn, and Bill Viola. These are each artists whose work is, in some way, working to give a voice to the unspeakable, a language to the inarticulable, and a form to the otherwise unseen.
Analisa Goodin's writing on such themes can be found in forthcoming issues of ALARM magazine, and her essay On Borders appears in the catalogue for the 2007 exhibition, "Through the Eyes of Strangers."
Lisa Kokin's work in mixed-media installation, artists' books, assemblage, and sculpture is about memory and history, both personal and collective.
Her work has been exhibited in numerous solo and group exhibitions in the United States and abroad. She has received a California Arts Council Individual Artist's Fellowship and a Eureka Fellowship from the Fleishhacker Foundation. Her work is in numerous public and private collections.
She is represented by Jenkins Johnson Gallery in New York and Donna Seager Gallery in San Rafael, California.
Oakland-based American-Israeli artist Naomie Kremer has produced a large body of work during the past 10 years, since receiving her degree from the California College of Arts and Crafts.
Kremer's large-scale colorful abstract paintings suggest a narrative without overt representational content. Bold brush strokes and bright hues sometimes give way to the suggestion of a figure, city grid, or leaves swirling in the wind. Her canvases convey emotions and movement without any clear reference to a specific time or place.
Thanks to the two earlier comments for watching all the way through a lot fo the presentation and by way of making it to the summary of the Mirroring Evil exhibition overview by Dora Appel. I do hope that you had the time to take in more of the other artists work.
Does this not disgust anyone? I understand how this could be construed as art by some, but it just seems to take a lack of consideration for those that endured this atrocity to a whole new level. Lego's? Seriously? I guess I just don't understand the reasons for going this route to create this form of "art".