ABSTRACT
Living in exile, isolated and belonging to no group or school, Daghani created an idiosyncratic oeuvre that does not readily fit into any tradition. His books and albums may recall the format of the livre d’artiste and the artist’s book, while further aspects of his work can be related to Holocaust Art, Modernism and Pop Art. However, his output is so varied and these categories are so broad that such contexts have limited application. It may be more helpful to examine his work in relation to similar practices by other artists of the postwar period who have used albums and pictorial narratives to engage with political crises and traumatic events. Such combinations of words and images, as components in an art of crisis, raise questions of enduring significance, as can be seen from the furore provoked the work of R.B. Kitaj.
