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Pete Souza has twice been a presidential photographer, documenting the Reagan administration early in his career and later becoming chief official White House photographer for Barack Obama. The title of Dawn Porter’s new documentary The Way I See It gestures to how Souza believes his experiences give him a unique perspective on the presidency — most pertinently, how Donald Trump is not fit for the position. Unfortunately, he instead exhibits a tragic case of the liberal civility fetish, and the film in turn falls prey to it.
The documentary is mainly a retrospective of the Obama years, touching on the backstories of images like “Hair Like Mine” and “Situation Room.” It’s a nostalgia trip for people who refuse to look at that time without wearing their rosiest glasses, all to further stoke rage over Trump. Yet Souza also speaks fondly of Reagan, without whom modern conservatism and Trump’s presidency would not have been possible, because he had “dignity” and exhibited “empathy.” This privileging of tone and affect over deed and effect evinces a truly toothless vision of politics and the presidency, one with no consideration of power and how it works.
The Way I See It is now available in virtual cinemas.
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.