This week I visited the Design of the Third Reich exhibition which is currently on at the Design Museum in ‘s-Hertogenbosch. It has been enormously popular, with time slots selling out completely even on weekdays. Though in the run-up to the exhibition there was much … Continue reading Re:view: what ‘Design in the Third Reich’ teaches us about design and ideology
Like D-Day, Operation Market Garden and the Battle of the Bulge, the 2019 anniversary of the outbreak of World War II has a lovely round number: yesterday, on 1 September 1939, it was precisely 80 years ago. Though this is hardly a date worth celebrating, … Continue reading Re:spect: Clare Hollingworth and the outbreak of World War II
In “The Art of War”, I put a work of art that has to do with the Second World War in the spotlight. The works I select may be propaganda pieces, antiwar works, or deal more objectively with the war and its aftermath. This week, Roy Lichtenstein’s Wall Explosion II (1965), which I was lucky enough to see in real life at Tate Modern recently.
What makes me happiest about starting Re:war are the positive reactions I get when I tell people about it. When I told my good friend Hannah about Re:war, she was incredibly excited and came up with all kinds of ideas for articles to contribute. Hannah … Continue reading Re:reading WWII in the digital age [guest blog]
I’m proud to publish Re:war’s first guest blog, written by Lindsey Bannister (UK). Lindsey and I share a love for the HBO show Band of Brothers, which follows a company of US paratroopers from D-day to VE-day. Lindsey and her friend Jo have been touring significant locations from World War II for years, following in the footsteps of the soldiers portrayed in the show.
When I logged onto Twitter on the morning of September 11, the first thing that caught my eye was the trending hashtag #neverforget. I wondered briefly why these two words were trending – then, of course, I remembered it was 9/11. The reason I was confused is because I primarily associate the words ‘Never forget’ with the Holocaust, and Auschwitz in particular. I thought it would be interesting to delve into the history of this slogan, and to examine why it has become more universal in American culture.
The publication of Art Spiegelman’s Pulitzer-winning graphic memoir Maus (in book form in 1991) shook the literary and art world alike. Maus is an autobiographical story about the artist’s father before the war and during the Holocaust, his time in Auschwitz, and Spiegelman’s own attempts to come to terms with this tale of survival.