Anselm Kiefer, Lot’s Wife, 1989. 
Kiefer makes reference to the taboo history of Nazi Germany and the Holocaust without depicting figures or actual historical scenes. Instead he does so metonymically, through objects of the familiarity that are signals for the unspeakable, the undepictable. In this piece, the decrepit railroads that would transport those captured by the Nazis to concentration camps are enough to conjure chilling images of one of history’s darkest moments. Kiefer works to convey the ineffability of the Holocaust.

Anselm Kiefer, Lot’s Wife, 1989.

Kiefer makes reference to the taboo history of Nazi Germany and the Holocaust without depicting figures or actual historical scenes. Instead he does so metonymically, through objects of the familiarity that are signals for the unspeakable, the undepictable. In this piece, the decrepit railroads that would transport those captured by the Nazis to concentration camps are enough to conjure chilling images of one of history’s darkest moments. Kiefer works to convey the ineffability of the Holocaust.

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