Morning Links

Morning Links: Tintoretto’s ‘Theatrical Zeal’ Edition

Jacopo Tintoretto, The Last Supper, ca. 1563/1564, oil on canvas, Church of San Trovaso, Venice.


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Academics, artists, curators, and activists have signed a statement calling on the Museum of Modern Art in New York and Larry Fink, a trustee of the institution and CEO of the investment firm BlackRock, to divest from companies invested in private prisons. [ARTnews]

In apparent support of the climate activist group Extinction Rebellion, Banksy strikes again! The elusive street artist seems to have created a new work in London where Extinction Rebellion was stationed for ten days of demonstrations. It depicts a child crouched next to the phrase, “From this moment despair ends and tactics begin.” [The Art Newspaper]

According to a local activist group, 75% of the artists showing work in Berlin Gallery Weekend are white and male. Posters and stickers distributed throughout the city call attention to this statistic. [Hyperallergic]

Real Estate

A loft in New York previously used by Mark Rothko as studio space is reportedly available to be rented for $15,000 per month. [Bowery Boogie]


A 1615 Geneva Bible that was stolen from the Carnegie Library in Pittsburgh has been recovered from the American Pilgrim Museum in the Netherlands. Gregory Priore, the library’s former archivist, and John Schulman, a book dealer, have been charged and await trial. [The New York Times]

An Italian prosecutor claims that an 11th-century liturgical book at the Morgan Library & Museum was stolen from the town of Apiro in 1925. The New York institution says it obtained the object as part of a gift from the investment banker William S. Glazier. [The Art Newspaper]


Here’s a piece on five collectives in Europe “that are reviving that centuries-old structure of shared resources and labor.” [T: The New York Times Style Magazine]

Colm Tóibín writes of the works in the Tintoretto retrospective currently at the National Gallery of Art in Washington, D.C., “These are action paintings, animated by theatrical zeal.” [The New York Review of Books]

For The New Yorker, illustrator Summer Pierre created a series of drawings about the Brooklyn Museum’s ongoing Frida Kahlo exhibition. [The New Yorker]

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