By Henry Massie

Interested by his remarkable and gorgeous mom, Felice, Henry Massie explores the various worlds she inhabited--and conquered--in this memoir.

Possessed with a notable reward for reinventing herself, Felice was once despatched to Paris to be proficient, and later fled her Polish shetl for Palestine whilst the Nazis got here to energy prior to international battle II. Having escaped the Holocaust, she immigrated eventually to the USA.

She arrived penniless, labored first as a nanny for the president of Yale, and finally married and settled in St. Louis. attracted to the artwork global, she started accumulating works within the new box of summary Expressionism, changing into energetic within the long island urban paintings global, lecturing on sleek paintings at Washington college, and finally accumulating a set that incorporated works via Jackson Pollock, Barnett Newman, Franz Kline, Mark Rothko, and Willem de Kooning.

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How should museums of, or concerned with, religion approach this tension between words, images, objects and an apparently incommunicable core? 74 Arthur’s point is well taken. Museums and memorials seek to display ‘what is’. 76 The preoccupation of such studies is the ability for museums to ‘mimic’ more traditional sacred spaces while simultaneously removing the sacred object from the context that more often than not imbues it with sacred meaning in the first place. Such decontextualization underpins the dangerous aspects of appropriating sacra within the secular space of the modern museum.

This symbiosis is achieved through the co-option and transformation of traditional Jewish symbols, rituals, archetypes and, most importantly, 32 The Holocaust Memorial Museum narratives. Indeed, it is the contention of this study that it is primarily in the ability of memorial museums to imbue the Holocaust narratives contained within them with metahistorical meaning that this symbiosis is to be found. Such a perspective runs counter to the conventional view of museums as primarily containers of material culture, repositories for objects that relay the physical evidence of a given topic, time, people or place.

The reality that contemporary understandings of the sacred have extended beyond traditional religious institutions, however, means that explorations of the sacred dimensions of Holocaust memory must be pursued through the analysis of non-traditional remembrance forms if we are to come The Holocaust Memorial Museum 21 to a comprehensive understanding of its contours and reach. 68 The ‘immediate experience’ is individual and, therefore, largely indefinable. The ‘religious administration’ is more often institutional, and in non-traditional and ostensibly secular societies this distinction allows for the ‘administration of the sacred’ by institutions and frameworks other than those of ‘organized religion’.

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