from the archives

It’s hard not to marvel at the crimson glow of 1966 science. 

Before the digital revolution converted complex workspaces into flat-screen monitors and unobtrusive computers, the control rooms of big experiments were the ultimate in analog awesome. Our Alternating Gradient Synchrotron—still accelerating particles here at Brookhaven after 53 years—featured just such an array of custom-built electronics.

Just look at all those knobs, dials, and oscilloscopes.

From the Archives: The Presidents deliver the State of the Union

1939: President Franklin D. Roosevelt

1950: President Harry Truman

1963: President John F. Kennedy

1966: President Lyndon B. Johnson

1970: President Richard Nixon

1977: President Gerald R. Ford

1978: President Jimmy Carter

1983: President Ronald Reagan

1991: President George H. W. Bush

1996: President Bill Clinton

2003: President George W. Bush

2013: President Barack Obama

Tune in tonight at 9pm ET to watch the President deliver the 2015 State of the Union.


In 2003 the Contemporary Arts Museum Houston presented Matthew Richie: Proposition Player, the artist’s first major museum exhibition. Proposition Player featured artworks created in 2002 and 2003, including a series of major installations made specifically for the soaring interiors of the CAMH. The exhibition highlighted Matthew Ritchie’s complex and imaginary story of the history of the universe as told through his monumental yet intricate paintings, drawings, sculpture, and digital animation.

Learn more about Proposition Player in Art21 website interview here.

Mattew Richie, Proposition Player, 2003. Installation view at the Contemporary Arts Museum Houston, Texas Photo by Hester + Hardaway, © Matthew Ritchie.

Modern science just doesn’t have enough monolithic machinery with elegant curves.

This may look like an old science fiction movie set, but this machine actually played a key role in multiple Nobel Prizes. Starting in 1960, Brookhaven Lab’s Cockroft-Walton Accelerator—essentially a multi-level voltage multiplier—provided the initial boost to protons before they raced on into the rings of our Alternating Gradient Synchrotron.

The physical experience of the artist’s body in time is compressed into a single space; viewers encounter a passing of time in one instant. Mirage is both in motion and static, a singular body and many, ephemeral and permanent.

Lia Wilson on Katie Grinnan –>

Image: Katie Grinnan, Mirage, 2011; Friendly plastic, enamel, and sand; 79 x 63 x 72 in. Courtesy of the Artist and Brennan & Griffin, New York.