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Both Jackson and President Obama have emphasized many times that they would prefer that Congress take the lead on climate change; many assumed that the mere threat of the EPA's regulatory authority would goad Congress into action. Now the question is, If the Senate won't move, can the EPA act effectively...
Still, it's far from clear exactly how the EPA will regulate carbon. Regulations would call for new plants to take on the "best available technologies" to control carbon emissions, but the EPA hasn't specified what those technologies are. Already-built sources of emissions could be even tougher to regulate - the Clean Air Act grandfathered in existing coal plants. And the agency is already facing lawsuits from the state of Texas and from industry groups that seek to prevent the EPA from issuing any regulations at all, arguing that the recent problems in climate science undermine the agency...
...those reasons, the White House would much rather see Congress take the lead - and the political heat - on climate change. But the EPA's Jackson, at least, seems ready to fight. At the Senate hearing Tuesday morning, she tangled with Republican climate skeptics and emphasized that the Supreme Court required her agency to act. "The science behind climate change is settled, and human activity is responsible for global warming," she said. "That conclusion is not a partisan one." That's true, but just about everything else in Washington still...
...does artistic ineptitude alone ensure it. The works that are included vary in style and medium, but most share certain characteristics. First off, bad art tends to be figurative. Garish, unnatural colors seem to be a prerequisite. And much bad art just contains bad subject matter (take, for instance, a bovine form precipitating down what appears to be a waterfall in “Suicide,” or George Seurat relieving himself in the pointillist-style “Sunday on the Pot with George...
...like Marcel Broodthaers, Daniel Buren, and Hans Haacke, who turned a critical eye to the context in which their work was exhibited. Indeed, this practice of institutional critique is one of the key influences in the artistic developments of the late 20th century. Is MOBA, then, with its humorous take on the way in which museums assign aesthetic value, participating in this same discourse of institutional critique? What does the very fact of creating a bad art museum say about the over-intellectualized realm of contemporary art? And if MOBA is more interesting for its idea than for the actual...