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The Driver is Red, Randall Christopher‘s animated short, above, could make an excellent, if somewhat unusual, starting place.
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The Holocaust is such a huge subject that there is a question of how to introduce it, ideally, in such a way that young people’s interest is sparked toward continuing their education. (In defense of millennials, it’s worth noting that in the decades since 1977, when more than half of the country tuned in to watch the miniseries Roots, the Civil War and the horrors of slavery had all but disappeared from American curriculums, a direction the Black Lives Matter movement is fighting to redress.) The study did make the heartening discovery that nearly all of the respondents - 93% - believed that the Holocaust should be a topic of study in the schools, many citing their belief that such an education will prevent a calamity of that magnitude from happening again.
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Follow him at is shocking to those of us who grew up reading The Diary of Anne Frankand attending assemblies where Holocaust survivors - often the older relative of a classmate - spoke of their experiences, rolling up their sleeves to show us the serial numbers that had been tattooed on their arms upon arrival at Auschwitz. Josh Jones is a writer and musician based in Durham, NC. Hokusai’s Iconic Print, “The Great Wave off Kanagawa,” Recreated with 50,000 LEGO Bricks The Evolution of The Great Wave off Kanagawa: See Four Versions That Hokusai Painted Over Nearly 40 Years Thirty-Six Views of Mount Fuji: A Deluxe New Art Book Presents Hokusai’s Masterpiece, Including “The Great Wave Off Kanagawa” The Great Wave Off Kanagawa by Hokusai: An Introduction to the Iconic Japanese Woodblock Print in 17 Minutes Discover them yourself for the first time here. Formerly owned by the collector and Art Nouveau jeweler Henri Vever, the prints could have inspired many a western artist, but it seems they were hidden away and have been seen by very few eyes. Made sometime between 1820 and the 1840s, “the meticulous, postcard-sized works are known as hanshita-e, a term for the final drawings used to carve the key blocks in Japanese woodblock printing.” These are usually destroyed in the process, but since the prints were never made, for reasons unknown, “the delicate illustrations remained intact, mounted on cards and stored in a custom-made wooden box.” The drawings depict everything from “the typical inhabitants of lands in East, Southeast, and Central Asian and beyond” to one of the 33 manifestations of the bodhisattva Avalokiteśvara, “Dragon head Kannon.”Īt the top, curator Alfred Haft walks us through his favorite drawings from the set, and you can see all 103 of the diminutive illustrations online at the British Museum. Made for an unpublished encyclopedia titled Banmotsu eon daises zu (The Great Picture Book of Everything), “The drawings were long thought forgotten,” Valentina Di Liscia writes at Hyperallergic, “last recorded at an auction in Paris in 1948 before they resurfaced in 2019.”
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And we can now appreciate a series of drawings that have been hidden away for over seventy years and were hardly seen at all in the 200 years since their creation. Hokusai’s European and American enthusiasts saw only the barest glimpse of his body of work, which we can now fully appreciate in exhibitions in person and online. His Mount Fuji prints “could not have been further from anything being made in Europe at the time.” During his “formative experience of European art,” John-Paul Stonard writes at The Guardian, Hokusai “learnt from European prints brought into Japan by Dutch traders.” He took these lessons in directions all his own, however.