These few paragraphs in the New Yorker story about the Tea Party-funding Koch brothers should scare the hell out of you:
The David H. Koch Hall of Human Origins, at the Smithsonian’s National Museum of Natural History, is a multimedia exploration of the theory that mankind evolved in response to climate change. At the main entrance, viewers are confronted with a giant graph charting the Earth’s temperature over the past ten million years, which notes that it is far cooler now than it was ten thousand years ago. Overhead, the text reads, “HUMANS EVOLVED IN RESPONSE TO A CHANGING WORLD.” The message, as amplified by the exhibit’s Web site, is that “key human adaptations evolved in response to environmental instability.” Only at the end of the exhibit, under the headline “OUR SURVIVAL CHALLENGE,” is it noted that levels of carbon dioxide are higher now than they have ever been, and that they are projected to increase dramatically in the next century. No cause is given for this development; no mention is made of any possible role played by fossil fuels. The exhibit makes it seem part of a natural continuum. The accompanying text says, “During the period in which humans evolved, Earth’s temperature and the amount of carbon dioxide in the atmosphere fluctuated together.” An interactive game in the exhibit suggests that humans will continue to adapt to climate change in the future. People may build “underground cities,” developing “short, compact bodies” or “curved spines,” so that “moving around in tight spaces will be no problem.”
Such ideas uncannily echo the Koch message. The company’s January newsletter to employees, for instance, argues that “fluctuations in the earth’s climate predate humanity,” and concludes, “Since we can’t control Mother Nature, let’s figure out how to get along with her changes.” Joseph Romm, a physicist who runs the Web site ClimateProgress.org, is infuriated by the Smithsonian’s presentation. “The whole exhibit whitewashes the modern climate issue,” he said. “I think the Kochs wanted to be seen as some sort of high-minded company, associated with the greatest natural-history and science museum in the country. But the truth is, the exhibit is underwritten by big-time polluters, who are underground funders of action to stop efforts to deal with this threat to humanity. I think the Smithsonian should have drawn the line.”
Before you say it, I will “Did I just read that right?” A publicly funded institution that we associate with excellence is promoting an pro-pollution corporate agenda? Though I really think it’s far more likely that we’ll all be developing “curved spines” from sitting at computers or desks all day and not climate change, but that’s another story.
Hat tip C-Monster
The close, careful, and subtle observation I found this year is representative of precisely why I continue to gravitate to this fair.
How do we counter stereotypes about Black mothers, while stressing the importance of memory, determination, love, and corporeality?
An expansive exhibition on Adeliza McHugh’s influential Candy Store Gallery celebrates the whimsical, irreverent aesthetic that put California’s Sacramento Valley on the art-historical map.
With two stellar retrospectives, one time-based installation, and several commissions by local artists, the Phillips Collection has dedicated its galleries to highlighting abstract work by Black artists.
As we begin a new year, a small moment on Queer Eye makes me think about the profound effect our stories can have on each other.
Each fellow in this 10-month intensive in New Haven, Connecticut, will receive studio or office space, subsidized housing, and a generous stipend.
Some have criticized the racist monument’s planned relocation to North Dakota, near land seized from Indigenous people.
A group called the Boriken Libertarian Forces toppled the monument hours before King Felipe VI of Spain’s visit.
Graduate students in the University of Denver’s Emergent Digital Practices program work on research with faculty who are engaged directly with their communities, both online and off.
Still resonating with relevance, William Gropper’s incisive cartoons in defense of the WPA go on auction at New York’s Swann Galleries together with other works by celebrated WPA artists.
Archeologists excavating in Nijmegen, the Netherland’s oldest city, found the bowl in pristine condition.
A pioneer of street photography, Levitt worked in the most crowded and poorest neighborhoods of New York searching for the theater of everyday life.