Art

Art, Monday Gallery — May 23, 2016, 4:40 pm

Dorothea Lange MG

The Road West, U.S. 54 in Southern New Mexico

The Road West, U.S. 54 in Southern New Mexico,” a photograph by Dorothea Lange, whose work is on view as part of California and the West: Photography from the Campaign for Art, at the San Francisco Museum of Modern Art. The museum reopened this month after a nearly three-year renovation.

Art, Monday Gallery — May 16, 2016, 3:20 pm

georgiaokeeffe

Red Mesa

Red Mesa, a painting by Georgia O’Keeffe, from Georgia O’Keeffe: Watercolors 1916–1918, published this month by Radius Books and the Georgia O’Keeffe Museum, in Santa Fe, New Mexico.

Art, Monday Gallery — May 9, 2016, 2:18 pm

©Brodersen

String, Cloth, and Kite 05

“String, Cloth, and Kite 05,” a photograph by Ole Brodersen, whose work is currently on view at Scandinavia House, New York City. Courtesy Muriel Guépin Gallery, New York City

Art, Monday Gallery — May 2, 2016, 11:23 am

Anne Collier Women Crying

Woman Crying #8 and Woman Crying #7

“Woman Crying #8″ and “Woman Crying #7,” photographs by Anne Collier, whose artist book Women Crying was published last month by Hassla. Collier’s work is now on view at Anton Kern Gallery, in New York City. © The artist. Courtesy the artist; Hassla, New York City; and Anton Kern Gallery, New York City

Art, Sketch — April 27, 2016, 1:01 pm

HarpersWeb-Wertz-ThenandNowBronx-hpimage

Bronx Theaters Then and Now

Illustrations of theaters in the Bronx, as they appeared decades ago and today.

Art, Monday Gallery — April 25, 2016, 11:36 am

©Bartlett

Amagansett Diptych #2

Amagansett Diptych #2, paintings by Jennifer Bartlett. Image © the artist. Courtesy Paula Cooper Gallery, New York City

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Helen Ouyang on the cost of crowd-sourcing drugs, Paul Wood on Trump's supporters, Walter Kirn on political predictions, Sonia Faleiro on a man's search for his kidnapped children, and Rivka Galchen on The People v. O. J. Simpson.

The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

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"All our friends are saying, load up with plenty of ammunition, because after the stores don’t have no food they’re gonna be hitting houses. They’re going to take over America, put their flag on the Capitol.” “Who?” I asked. “ISIS. Oh yeah.”
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He made them groom and feed the half-dozen horses used to transport the raw bricks to the furnace. Like the horses, the children were beaten with whips.
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The Old Man·

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The new docudrama The People v. O. J. Simpson: American Crime Story (FX) isn’t really about Orenthal James Simpson. It’s about the trials that ran alongside his — those informal, unboundaried, court-of-public-opinion trials in which evidence was heard for and against the murder victims, the defense and the prosecution, the judge, the jury, and the Los Angeles Police Department, to say nothing of white and black America. History has freed us from suspense about Simpson’s verdict, so that the man himself (played here by Cuba Gooding Jr.) is less the tragic hero he seemed in the mid-Nineties than a curiously minor character. He comes to the center of our attention only once, in Episode 2, at the end of the lengthy Ford Bronco chase scene — which in real life was followed by a surreal cavalcade of police cars and media helicopters, as well as an estimated 95 million live viewers — when Simpson repeatedly, and with apparent sincerity, apologizes for taking up so much of so many people’s time. It is an uncannily ordinary moment of social decorum, a sort of could-you-please-pass-the-salt gesture on a sinking Titanic, in which Simpson briefly becomes more than just an archetype.

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With its lens shifting from the courtroom to the newsroom to people’s back yards, the series evokes the way in which, for a brief, delusory moment, the O. J. verdict seemed to deliver justice for all black men.
Still from The People vs. OJ Simpson: American Crime Story © FX Networks

Amount an auditor estimated last year that Oregon could save each year by feeding prisoners less food:

$62,000

Kentucky is the saddest state.

An Italian economist was questioned on suspicion of terrorism after a fellow passenger on an American Airlines flight witnessed him writing differential equations on a pad of paper.

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Matt was happy enough to sustain himself on the detritus of a world he saw as careening toward self-destruction, and equally happy to scam a government he despised. 'I’m glad everyone’s so wasteful,' he told me. 'It supports my lifestyle.'

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