This article recalls an important episode in the history of Jasenovac Memorial Museum (JMM). It traces the formative process through which the United States Holocaust Memorial Museum (USHMM) and US Department of State intervened to retrieve the Jasenovac collection from Banja Luka in 2000, acted as its temporary guardian until returning it to Croatia in 2001, and continued to assist JMM with its creation of a new permanent exhibition. Situating this moment in the site's history at the intersection of Yugoslavia's dissolution and aftermath, the end of the Cold War and changes to US cultural policy, and the opening of the USHMM, this article analyses how these institutions and associated actors negotiated each other's interests and frameworks. It challenges the notion that museums are strict sites of political hegemony. It shows instead how interactions in and between museums unsettle and reconfigure the local and global power systems that surround us.
Roosevelt used the USPOD to promote many of his initiatives-from the National Recovery Act (which got its own stamp in 1933) to the beauty of national parks (a series of twenty stamps in 1934 and 1935).Admittedly, today's digital landscape means that far fewer people use postage stamps for mailing, or even receive mail that bears anything other than machineprinted postage. Nevertheless, Brennan's book provides a fascinating look back at a time when mail mattered. One minor complaint is that the illustrations in Stamping American Memory's print version appear as unappealing black-and-white images, which hardly do justice to the intricate art of the stamps themselves, especially when Brennan whets our appetite by praising "the design and intensity of the ink colors" (111). However, the good news is that the University of Michigan Press has also issued an online, open-access version of the book, which beautifully reproduces those designs and colors.
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