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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.
Archeologists can now prove the Vikings made landfall in the Americas hundreds of years before Columbus reached the Bahamas.
This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Sculptures of Oaxacan alebrijes, envisioned as guardians of the nation’s immigrant community, and catrinas, Day of the Dead skeletons, are now at Rockefeller Center.
“I am trying to keep the immediacy of my emotional experience while I’m painting.”
Art by Athena LaTocha, Wendy Red Star, Marianne Nicolson, Anita Fields, Jaune Quick-to-See Smith & Neal Ambrose-Smith, and more is on view through January 2022.
The intention behind the seemingly bizarre combination was, according to Attie, “to give visual form to the shared American and Brazilian reality of nationalistic divisions that defines our political present.”
Nowhere in the museums’ advertising blitzkrieg for the performance were we told to bring our wildfire-season masks as well as our covid masks, and covid masks don’t prevent smoke inhalation.