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Saw “Solar System Questions” by xkcd? Here’s what science thinks it knows. “Put two ships in the open sea, without wind or tide, and, at last, they will come together. […]
By the 1960s the two most criticized art forms in America were modern art and television.  Some critics called modern art mystifying junk, while others targeted TV as anything from trash to a threat to democracy.  Revolution of the Eye: Modern Art and the Birth of American Television at The Jewish Museum, New York, hopes to redeem both media by exploring how modern art provided an ethos and aesthetic for early television — a debt repaid later as television, in turn, inspired a new generation of modern artists, including Andy Warhol, who began as a modernist-influenced graphic designer for, among other clients, television networks. By looking back at modern art and television’s mutual love affair from the 1940s to the 1970s, Revolution of the Eye challenges us to reflect on the artistic aspirations of TV’s latest golden age.
For the 1960s generation, however, “the day the music died” was July 25, 1965 — the day when Bob Dylan crashed the 1965 Newport Folk Festival stage with an electric guitar in front of him and rock band behind him to rip into a loud, raucous version of his new hit, “Like a Rolling Stone.”
An interesting point in case are the twin maps of Africa shown here, one of the spread of Islam, the other the spread of AIDS. Beware of the map that is too straightforward and simple.
Govert Schilling’s new book deserves a place in everyone’s life. “Imagination will often carry us to worlds that never were. But without it we go nowhere.” –Carl Sagan Imagine the […]
“When I think of art, I think of beauty. Beauty is the mystery of life,” minimalist artist Agnes Martin once explained. “It is not in the eye; it is in my mind. In our minds there is awareness of perfection.” In the first comprehensive survey of her art at the Tate Modern, in London, England, the exhibition Agnes Martin strives to guide viewers to that “awareness of perfection” Martin strove to embody in her minimalist, geometrically founded art. Rather than the cold, person-less brand of modernist minimalism, Martin’s work personifies the warm humanity of Buddhist editing down to essentials. At the same time, surveying Martin’s art and thinking allows us to revisit the feminist critiques of minimalism and shows how Martin’s stepping back from the bustle of the New York art scene freed her to find “a beautiful mind” — not just for women, but for everyone.
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.