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Mirrors Georgetown (2012) by Ernest Zacharevic For the George Town Festival 2012, via the Malaysia Art Gallery Guide
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Frank Stella at work (1964)
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Photo of Ad Reinhardt in his New York studio, from an article on Guggenheim’s 2008 exhibition titled “Imageless: The Scientific Study and Experimental Treatment of an Ad Reinhardt Black Painting” Despite their visual and conceptual rigor, though, the black paintings are physically delicate in the extreme. The mere touch of a finger leaves a permanent imprint on their matte, suedelike surfaces. The accidental brush of an elbow could create a trail as conspicuous as a tear. Reinhardt was well aware of the paintings’ fragility. Surely he knew that their precarious flawlessness was part of their mystique. It contributed to their being perceived, and valued, as pure things in a corrupted world.
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The Fête Champêtre (1627) by Dirk Hals (via) Oil on canvas, 78 x 137 cm
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A Courtyard in Alhambra (1889) by Frans Wilhelm Odelmark
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meeresstille: by Alberto Pasini Trying to get through Said’s “Orientalism”
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geocrusader80: Art: drafting a cartographic map of Naples, Italy.
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fer1972: Gennady Privedentsev
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planetaryfolklore: spurloser: -outlying-: Richard Estes, L Train, 2009
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