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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.
If you knew nothing, Jon Snow, here’s what it’s doing in five simple steps. “Let them see that their words can cut you and you’ll never be free of the […]
Lessons from the Universe whenever a light goes out. “End? No, the journey doesn’t end here. Death is just another path, one that we all must take. The grey rain-curtain […]
The first human colonies might not be on the surface of Mars, but amidst the clouds of Venus. “I remember as a kid having a balloon and accidentally letting the […]
On January 1, 2016, one of the most infamous books of the 20th century — Adolf Hitler’s Mein Kampf — enters public domain and can be published by anyone in Germany for the first time since the end of World War II. Seventy years after the fall of the Nazis, people still debate allowing that particularly evil genii out of the bottle to influence young minds. Others argue that the genii’s been out of the bottle all along, either through underground sources or, more recently, the Internet. More controllable, however, have been the propaganda films of the Nazis, whose chief propagandist, Joseph Goebbels, announced in 1941 that, “Film is our most important medium for propaganda.” Felix Moeller’s new documentary Forbidden Films: The Hidden Legacy of Nazi Film examines this question of allowing new generations to see these banned films and, if so, how to show them without that evil history repeating itself.
Light up your holidays with the greatest natural show the sky has to offer! “Bethany: Is your house on fire, Clark?Clark: No, Aunt Bethany, those are the Christmas lights.”–National Lampoon’s […]
Now that New Horizons has flown by the Plutonian system, can it be considered a planet after all? “Words are the source of misunderstandings.” –Antoine de Saint-Exupéry Back in 1930, […]
The standard line against painter John Singer Sargent goes like this: a very good painter of incredible technique, but little substance who flattered the rich and famous with decadently beautiful portraiture — a Victorian Andrea del Sarto of sorts whose reach rarely exceeded his considerable artistic grasp. A new exhibition of Sargent’s work and the accompanying catalogues argue that he was much more than a painter of pretty faces. Instead, the exhibition Sargent: Portraits of Artists and Friends and catalogues challenge us to see Sargent’s omnivorous mind, which swallowed up nascent modernist movements not just in painting, but also in literature, music, and theater. Sargent the omnivore’s dilemma thus lies in being too many things at once and tasking us to multitask with him.