The summer is over and I can't help but notice that everyone is talking about barnstorming, slinging mud, and too-close-to-call dogfights. It's not a fight at a farm or zoo—it's an explosion of animal-related metaphors describing the election. Yep, the general election is here and donkeys and elephants are charging, but eagles (the American Independence Party) and bull moose (Theodore Roosevelt's Progressive Party) are sitting it out.
Horse racing seems to be the number one source of inspiration for political analysis. Just like a day at the horse races, in our first-past-the-post system, whoever comes in first takes it all.
For politicians, it's a long run from exploratory committee to election day. Some candidates can be slow out of the gate and never recover. Others simply don't have the stamina or staying power to remain in the lead.
Just like ponies, some politicians are closers—excellent at sealing the deal in the final days—while other, underrated candidates emerge as, you guessed it, dark horses that threaten to upset the odds-on favorite.
As we head down the home stretch, I'm sure we'll see and hear a flurry of negative ads. And, come November 6, we may see races end in a recount-worthy photo-finish.
So who's up and who's down in the polls? Who is going to cross the finish line first? Regardless of who wins and loses, it's a great time for handicappers, armchair analysts, and even art museums to trot out animal imagery to explain one of the most exciting processes in our democracy.
Edgar Degas. Horse with Jockey; Horse Galloping, Turning Head to the Right, Feet Not Touching the Ground, modeled mid-1870s (cast before 1951). Bequest of Brooks McCormick.
Édouard Manet. The Races, 1865–72. Through prior bequest of Mr. and Mrs. Martin A. Ryerson Collection.
Jacques Callot. The Horse Race at the Pitti Palace, in Florence, from The Caprices, c. 1622. Mary S. Adams Fund.
Winslow Homer. Our Watering Places—Horse-Racing at Saratoga, published in Harper's Weekly, August 26, 1865. Gift of Arthur and Hilda Wenig.
5 hours 53 min ago The Art Institute of Chicago Just like the museum's collection comes from artists around the world, so does the Museum Shop’s assortment of products. We source exclusive products from artisans that are inspired by the cultures, mediums, and techniques represented in our museum collection. View our assortment of unique items from India.
15 hours 1 min ago The Art Institute of Chicago NOW ON VIEW—Provoke: Photography in Japan between Protest and Performance, 1960–1975
Provoke was the English-language title for a Japanese photo magazine of the late 1960s; the name also designates the group of photographers and writers who put that formative publication together. Their influence has grown so great that the “Provoke era” is now international shorthand for sixties counterculture in Japan. This generational uprising swelled from the massive unrest, and sheer cultural disorientation, that accompanied the country’s transformation from ruined empire to superpower after World War II.
This exhibition places the achievements of Provoke alongside those of protesters and protest collectives, who made riveting photobooks, films, and photographs throughout the same era, as well as artists and art collectives keenly interested in live performance and its relation to the mechanical image.
18 hours 33 min ago The Art Institute of Chicago NEW ACQUISITION—In the early decades of the sixteenth century, Antwerp was a great center of commerce, finance, and luxury trade. The Flemish city attracted innovative painters like Quentin Massys, Jan Gossart, and Joos van Cleve working in a style that combined northern traditions with Italianate forms. Numerous other painters, whose work is only known under names of convenience, like the Master of the Lille Adoration, swelled the ranks of the Antwerp guild.
Saint Jerome in Penitence (by the Master of the Lille Adoration) is an ideal addition to our collection and can be seen alongside other exemplary paintings from Renaissance Antwerp—on view in Gallery 207.