Article by Jonathon Keats: “In the aftermath of Hiroshima, many of the scientists who built the atomic bomb changed the way they reckoned time. Their conception of the future was published on the cover of The Bulletin of the Atomic Scientists, which portrayed a clock set at seven minutes to midnight. In subsequent months and years, the clock sometimes advanced. Other times, the hands fell back. With this simple indication, the timepiece tracked the likelihood of nuclear annihilation.
Although few of the scientists who worked on the Manhattan Project are still alive, the Doomsday Clock remains operational, steadfastly translating risk into units of hours and minutes. Over time, the diagram has become iconic, and not only for subscribers to The Bulletin. It’s now so broadly recognizable that we may no longer recognize what makes it radical.
A thrilling new exhibition at the Fondazione Prada brings the Doomsday Clock back into focus. Featuring hundreds of diagrams from the past millennium, ranging from financial charts to maps of volcanic eruptions, the exhibition provides the kind of survey that brings definition to an entire category of visual communication. Each work benefits from its association with others that are manifestly different in form and function…(More)”.
