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Atomic Sublime: How Photography Shapes our View of Nuclear Warfare and Energy
The 70th anniversary of the dropping of atomic bombs on the Japanese cities of Hiroshima and Nagasaki will undoubtedly be accompanied by images of the “mushroom clouds” that rose over both cities. Terrible and sublime, these images burned themselves into the consciousness of “the greatest generation” and every generation since that’s lived with both the legacy of nuclear war and the reality of nuclear energy. A new exhibition at the Art Gallery of Ontario titled Camera Atomica looks deeply at the interrelated nature of photography and nuclear war and peace to come away with a fascinating glimpse of the calculatedly manufactured “atomic sublime” — the fascination with such terrible power at our command that simply won’t let us look away.
Culture & Religion
Facing African-American History Through African-American Art
When the Philadelphia Museum of Art purchased Henry Ossawa Tanner’s painting The Annunciation in 1899, they became the first American museum to acquire a work by an African-American artist. That purchase announced a new era of recognition of African-American art and artists just as much as the painting itself announced a new style of art moving away from stereotypical “black” scenes towards a freedom of aesthetic choice. Persons of color could express themselves in any way, even abstraction, but faced the new problem of remaining true to themselves at the same time. The new exhibition Represent: 200 Years of African American Art and accompanying catalogue show how these artists faced the challenges posed to them by art and society and provide all of us with a fascinating guide to facing African-American history—tragic, tenacious, transcendent—through its art.
Culture & Religion
“Birth of a Nation” and the Birth of American Cinema
On February 8, 1915, at Clune's Auditorium in Los Angeles, California, D. W. Griffith’s Birth of a Nation premiered. The fledgling art form of film would never be the same, especially in America, which even half a century after the end of the Civil War struggled to come to terms with race. Now, a century after Birth of a Nation’s premier, America still struggles not only with race, but also with how race plays out on the silver screen. For good and ill, Birth of a Nation marks the beginning of the first 100 years of the American Cinema—epically beautiful, yet often racially ugly.
David Brooks’ Neocon Nostalgia
So David Brooks wants to arouse in us some SELECTIVE NOSTALGIA for neoconservatism.  That’s not surprising, because he once was a “neocon”—or a “national greatness” conservative. Now the brand “neocon” […]
Can the Visual Arts Have the Blues?
“Ain’t got no rest in my slumbers/ Ain’t got no feelings to bruise/ Ain’t got no telephone numbers/ I ain’t got nothing but the blues,” goes Jazz composer Duke Ellington’s […]
Gerrymandering and the Politics of Revenge
Congress gets to pick its own voters, and not the other way around. But what if we got rid of gerrymandering and made 200 races in the House competitive every two years instead of just 30 or 40?