April 23, 2014
Giorgio Vasari, The Last Supper, 1543 — reassembled and restored in 2013 by the Opificio delle Pietre Dure e Laboratori di Restauro, Florence and the Getty, Los Angeles

Giorgio Vasari, The Last Supper, 1543 — reassembled and restored in 2013 by the Opificio delle Pietre Dure e Laboratori di Restauro, Florence and the Getty, Los Angeles

(Source: The New York Times)

April 23, 2014
Giorgio Vasari, The Last Supper, 1543 — reassembled and restored in 2013 by the Opificio delle Pietre Dure e Laboratori di Restauro, Florence and the Getty, Los Angeles

Giorgio Vasari, The Last Supper, 1543 — reassembled and restored in 2013 by the Opificio delle Pietre Dure e Laboratori di Restauro, Florence and the Getty, Los Angeles

(Source: The New York Times)

April 23, 2014
Giorgio Vasari, The Last Supper, 1543 — reassembled and restored in 2013 by the Opificio delle Pietre Dure e Laboratori di Restauro, Florence and the Getty, Los Angeles

Giorgio Vasari, The Last Supper, 1543 — reassembled and restored in 2013 by the Opificio delle Pietre Dure e Laboratori di Restauro, Florence and the Getty, Los Angeles

(Source: The New York Times)

April 23, 2014

Robert Olsen (May 23, 1969-April 14, 2014), not titled, all 2007, oil on panel, 8 x 19 inches

April 22, 2014
Church of Santa Croce, Florence, Italy, after the flood of the Arno River, 1966 — during which Giorgio Vasari’s painting The Last Supper (1543) was submerged in muddy oily water for eight hours.

Church of Santa Croce, Florence, Italy, after the flood of the Arno River, 1966 — during which Giorgio Vasari’s painting The Last Supper (1543) was submerged in muddy oily water for eight hours.

April 21, 2014
Letter to artist Alicia McCarthy from San Francisco Art Institute’s Dean of Students, 1992

Letter to artist Alicia McCarthy from San Francisco Art Institute’s Dean of Students, 1992

(Source: hyperallergic.com)

April 17, 2014
Molly Zuckerman-Hartung, Untitled zine, 1999 (courtesy the artist and the Fales Library & Special Collections, NYU) [via Hyperallergic’s interview]
“With the zine, the first thing is the lack of design, and then comes the request that you compare it to a musical form, a form that doesn’t cohere into something beautiful, that appears to be disorder. I’m asking you to compare the two things, I’m not saying they’re the same. And I think I remember my frustration with the assumption that punk was radical or rejecting, when it actually had its own modes and controls just as much as a designed culture …”

Molly Zuckerman-Hartung, Untitled zine, 1999 (courtesy the artist and the Fales Library & Special Collections, NYU) [via Hyperallergic’s interview]

With the zine, the first thing is the lack of design, and then comes the request that you compare it to a musical form, a form that doesn’t cohere into something beautiful, that appears to be disorder. I’m asking you to compare the two things, I’m not saying they’re the same. And I think I remember my frustration with the assumption that punk was radical or rejecting, when it actually had its own modes and controls just as much as a designed culture …”

April 16, 2014
J.M.W. Turner, Lecture Diagram 27: Perspective Method for a Cube (after Jean Pélerin), c. 1810

J.M.W. Turner, Lecture Diagram 27: Perspective Method for a Cube (after Jean Pélerin), c. 1810

(Source: tate.org.uk)

April 16, 2014
István Nádler and György Jovánovics, joint exhibition at Fényes Adolf Hall on Rákóczi street, Budapest, 1970

István Nádler and György Jovánovics, joint exhibition at Fényes Adolf Hall on Rákóczi street, Budapest, 1970

(Source: varfok-gallery.eu)

April 10, 2014
Paulina Ołowska, Applied Fantastic, Metro Pictures, New York 2010

Paulina Ołowska, Applied Fantastic, Metro Pictures, New York 2010

(Source: blog.lrrh.de)

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