This paper explores the relationship between art and the Armenian Genocide, and how art can be used as evidence for the traumatic past of the Armenian people that was a result of these catastrophic events.
In August 2015, Robert Miller and Bruce Gendelman toured sites of the Holocaust's atrocities. This is their effort to capture what they experienced, and an attempt, in some small way, to make sense of how the Holocaust happened.
State of Deception: The Power of Nazi Propaganda documents how, in the 1920s and 1930s, the Nazi Party used posters, newspapers, rallies, and the new technologies of radio and film to sway millions with its vision for a new Germany--reinforced by fear-mongering images of state "enemies."
How do educators use a variety of forms of representation to teach the complexities of genocide? What were the experiences of student-participants and participant-educators engaged in this curriculum? What types of meaning can be gleaned about genocide education by employing a variety of forms of representation? What meanings can students demonstrate about genocide by using a variety of forms of representation?
Focusing on three individual artworks, Elsby demonstrates how exploring the artistic aspects of each painting, together with the context in which they were created and the questions they raise, combine to deepen our understanding of the Holocaust as a human event.