I love Joe Sacco’s “Bitumen or Bust” partly because the last time I drove through Alberta, Canada, I too nearly ran out of gas in the middle of a highway, just as Sacco and his friends nearly did. But the cartoonist and journalist’s account of his trip through Alberta’s tar sands — excuse me: oil sands — is much more harrowing and potent as the world focuses ever more on the existential crisis of climate change and the capitalist engines that feed it. Sacco’s reportage in comic form, reprinted below from Houghton Mifflin Harcourt’s forthcoming anthology The Best American Comics 2019 (on sale October 1), offers a stark look at our bond to Big Oil and the consternations it creates, digging deep into the industry that extracts and refines bitumen, extremely heavy crude oil, from the earth.
“Does admitting I’m part of the problem disqualify me from thinking there’s something wrong here?” Sacco asks toward the end. I’d argue not, especially when the problems, staggering as they are, stare us in the face.
“Bitumen or Bust” is reprinted with permission from Houghton Mifflin Harcourt.
The Best American Comics 2019, edited by Jillian Tamaki and series editor Bill Kartalopoulos, is forthcoming from Houghton Mifflin Harcourt on October 1.
In yet another horror movie that’s actually about trauma, writer-director Alex Garland makes his points bluntly, having one actor play many facets of misogyny.
Time is itself a recycling process for Cole, whose freewheeling spirit transcends linearity in his excavations of art and music history.
Installations by Jessica Campbell, Yasmine K. Kasem, Suchitra Mattai, Haleigh Nickerson, and Nyugen E. Smith are now on view at JMKAC in Sheboygan, Wisconsin.
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The first global survey dedicated to the use of clothing as a medium of visual art features works by 35 contemporary artists, including Nick Cave, Kent Monkman, Louise Bourgeois, and Mary Sibande.
The phishers posted an “official minting link” to a fraudulent raffle from the famous NFT artist’s account.
Through jubilant performances and speeches, the city’s first-ever Blasian March connected the large but disparate communities.
Who says tragedy has to be tragic? Co-presented with National Black Theatre, this fresh, Pulitzer-winning take on a classic centers Black joy and liberation.
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Lewis’s tattered canvases and pasted over drawings mirror a world in need of constant upkeep and repair.
Seeing the Toronto Biennial of Art through my daughter’s eyes helped me push past some of its challenges by experiencing it on a primordial level.