Art for Sale Page 2

Find eye-catching landscaping designs for huge yards that add beauty, function, and personality while making the most of every inch.
Huge yards make a big statement when the landscaping designs behind them work with the space instead of against it. Most large yards stall out because owners treat all that acreage as one giant problem rather than several smaller opportunities. According to the American Society of Landscape Architects, getting professional landscaping can boost a home’s resale value by 15 to 20%, meaning a well-executed yard pays off in real dollars, not just curb appeal.
For Black homeowners who’ve put serious work into building wealth through property, that outdoor space carries real weight: pride, community, and a place to gather the people who matter most.
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Large yards reward landscaping designs that divide the space into purposeful zones rather than spreading one idea thin. The most effective approach creates distinct areas, such as an outdoor living space near the house, a garden section further out, and naturalistic plantings along the perimeter to soften the boundary. Each zone gets room to breathe, and the yard reads as intentional rather than sprawling.
Hardscaping gives the design its bones. A paved patio, stone pathway, or retaining wall introduces structure and visual weight that plants alone can’t provide, especially in larger yards where open grass reads as flat. According to This Old House, 22.5% of homeowners planned landscaping upgrades in 2025, with improving aesthetics and expanding entertainment space among the top reasons, both of which hardscaping addresses directly. 
Linking zones matters as much as creating them. A winding stone path that moves from the patio to a fire pit and then to a garden bed invites people to explore rather than stay planted in one spot. Without those links, separate areas feel isolated even when individual features look polished.
Mature trees and large ornamental grasses work well as natural dividers. They supply shade, privacy, and visual interest all at once, and in warm Southern climates where many Black families have built roots, shade is as practical as it is attractive.
Scale is everything in a large yard, as small plants that shine in a compact bed disappear on a full acre. Bold, layered planting does the work here: tall flowering trees at the back, medium scrubs in the middle, and low ground cover at the front create depth and keep the eye moving. According to the Landscaping Network, this tiered approach is one of the core strategies professionals use to give large yards structure and prevent that sprawling, unfinished feeling.
Native plants earn their place on large properties because they’re adapted to local conditions, need less water, and attract pollinators without the maintenance exotic species require. For families who want a yard that stays sharp without consuming every free weekend, native combinations are among the most reliable choices available. 
A large yard without focal points leaves the eye with nowhere to land. A statement water feature, a bold sculptural shrub, or a pergola gives the space direction and draws visitors through it naturally. Focal points make a yard feel considered, as if deliberate choices were made rather than space filled. 
Strategically placed large outdoor planters serve this purpose without any construction commitment. They anchor a patio edge, frame an entrance, or flank a garden path, and they move with you if the layout changes. 
Outdoor lighting is the most underused tool in residential landscaping. Path lighting along walkways, uplighting on mature trees, and string lights in an entertainment zone extend the functional hours of the space and show anyone approaching that the yard has been thought through. A yard that looks intentional after dark is one that actually gets used after dark.
Water features add dimension beyond the visual, as sound carries across a large yard and pulls people toward a central point, the way a fire does. Even a modest recirculating fountain at a focal area creates an atmosphere that static plantings cannot replicate alone.
Budget-first landscaping of a large yard starts here: spend on what people encounter first. The zone closest to the house, such as the patio, the beds visible from the back door, and the side yards guests walk through, earns the most per dollar. Phasing the rest in over one to three seasons keeps costs manageable without sacrificing the overall impression.
Seed over sod saves significantly on large coverage areas, and mulch applied generously to planting beds cuts weeding time and water needs. Native plants cost less to maintain and establish faster than exotic species. Grouping plants into defined beds rather than scattering them across open lawn makes the yard feel designed at a fraction of what elaborate hardscaping costs.
Large, stunning backyards work best with a hardscape entertaining area, layered planting beds, at least one focal point such as a water feature or fire pit, pathway connections between zones, and naturalistic plantings along the perimeter. The right combination depends on how your household actually uses outdoor space.
Native plants, mulched beds, drip irrigation, and paving in high-traffic zones all reduce ongoing demands. Replacing portions of traditional turf with groundcovers or hardscape cuts mowing frequency and water bills without making the yard look neglected.
A contractor brings the most value to site planning and large-scale installation. For homeowners phasing the project over time, starting with a professional plan, even if you do sections yourself, prevents the piecemeal look that plagues large yards without a unified vision from the start.
The best landscaping designs for large yards don’t try to do everything at once. They identify the zones that matter most, invest in plants and materials proportional to the scale of the space, and build a yard that functions as well as it looks. Whether you’re starting a blank slate or refreshing an overgrown property, every standout yard begins with a plan and the follow-through to make it real.
For more home, lifestyle, and community content worth reading, explore more articles on this site.

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October Gallery Museum
Connecting People with Art since 1985
Karen Archey, the head of curatorial department at Kunstsammlung Nordrhein-Westfalen © K20 K21 Kunstsammlung Nordrhein-Westfalen; Düsseldorf; photo: Andreas Endermann
If you could live with just one work of art, what would it be?
I’ve been obsessed with Alice Neel for a number of years. When I started at K20/K21 Kunstsammlung Nordrhein-Westfalen, I was pleasantly surprised to see that they had recently acquired a significant work by Neel (The
Great Society, 1965). The artwork I would acquire for the museum doesn’t always align with what I would want to live with, but in this case it’s true: Neel’s works are in equal turns expressive, arresting, and deeply politically charged.
Which cultural experience changed the way you see the world?
The Grand Tour of 2007 [when the Venice Biennale, the Art Basel art fair, Documenta in Kassel and Skulptur Projekte Münster, Germany, coincided in the same summer]. I was in my last year of university and I travelled from Venice to Basel to Kassel to Münster and looked at every piece of art on that tour. Took notes on literally everything. It became painfully apparent to me how art functions differently in an art fair (Basel), in comparison to a biennial (Venice) and which audiences and activities they anticipate—and where I fit and do not fit in.
Which writer or poet do you return to?
I read poetry during periods of life in which I am too exhausted to maintain focus to read novels for pleasure. In the last week or so I’ve re-read The Hermit by Laura Solomon, Maggie Nelson’s Bluets, Nate Klug’s Rude Woods (a modern translation of Virgil’s Eclogues), and Kate Colby’s I Mean. I have read some of these a dozen times.
What music or other audio are you listening to?
I am currently listening to Sheriff Labrador through earmuffs and ear plugs because I’m trying to work and be a parent at the same time.
What is art for?
I know the answer; I’m just keeping it for myself.
• Anne Truitt: Pioneer of Minimal Art, K20, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, until 2 August
Art, says the acting chief curator and senior curator of photography at MoMA, is about considering what it means to be human
Senior curator at Australia’s Art Gallery of New South Wales discusses her podcast recommendations and her multi-genre music playlist
From a childhood trip to the Pyramids of Giza to the ‘Empire’ podcast, the curator shares her cultural influences
The curator tells us about her cultural influences, from Izumi Suzuki’s short stories to the Detroit house music of Theo Parrish
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The October Gallery Museum places art in the community. Here are partner locations where you can have an art experience.
Some locations art is installed inside buildings and visits are during regular business hours. Other locations are by appointment only. Schools are not open to the public. In addition, we have many outdoor installations that you can enjoy around the clock. Check each location below for details. Tours are available upon request. 215-352-3114.
Here are some of our patrons that have donated art and art related items installed as part of our Art in the Community program. Thanks!
Watson and Sonia Brown
Stephanie Daniel
Chad Cortez Everett
Gail Gaines
Dr. Darryl J. Ford
Kelly R. Harrison
Deborah Kelly
Betty Ann D. Lawrence
David Lawrence
Leon McDuffie
Michael Muhammad
Jay R. Ogilvie
Marjorie H. Ogilvie
Junious Rhone, Sr.
Robin Rhone
Shirley Rhone
April Rice
Karen Roach
Monica Rocha
Steve Satell
Deborah Stephens
Staci Watson 
Stephanie R. West
Horace Wright

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Art and art related items may be returned to October Gallery in good condition within twenty (20) days of the purchase for store credit ONLY – unless otherwise stated on an invoice.
Items on layaway or even items paid for will be held by the gallery for no more than ninety (90) days from the original sale date. Refund is in store credit ONLY – unless other stated on an invoice.

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The women’s basketball coaches exchanged verbal blows after South Carolina’s victory over UConn last night.
Coach Geno Auriemma is apologizing after an explosive moment with Dawn Staley following last night’s Final Four matchup went viral.
Reflecting upon his actions, Auriemma said in a statement posted online that “there’s no excuse” for how he handled the end of the women’s basketball game, in which UConn lost to South Carolina 62-48, and directed his apology toward “the staff and team at South Carolina.” He did not mention Staley by name in the statement.
“There’s no excuse for how I handled the end of the game vs. South Carolina. It’s unlike what I do and what our standard is here at Connecticut,” he said in the statement. “I want to apologize to the staff and the team at South Carolina. It was uncalled for in how I reacted. The story should be how well South Carolina played, and I don’t want my actions to detract from that. I’ve had a great relationship with their staff, and I sincerely want to apologize to them.”
Basketball fans were shocked when Auriemma walked up to Staley when there was .1 second left on the clock, not for a postgame handshake, but to tell her off. This led to a heated exchange between the two, and both coaches had to be separated, and Auriemma was brought back to his respective area of the sideline. Staley is caught on film after the argument, saying she will “beat Geno’s a–.”
After the game ended, Staley told ESPN that she “had no idea” why Auriemma approached her so angrily, and that he may have been upset that she didn’t shake his hand before tip-off.
“I went down there pregame, shook everybody on his staff’s hand,” Staley said. “I don’t know what he came with after the game, but hey, sometimes things get heated. We move on.”
Auriemma confirmed that the handshake was an issue for him in his interview with ESPN. He also complained that the game was called unfairly by the referees.
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Sheep Field Barn at Henry Moore Studios & Gardens at Perry Green in Hertfordshire © Henry Moore Foundation, photo: Rob Hill
The legacy of Britain’s most famous 20th-century sculptor will be enhanced this April with the launch of the redeveloped Sheep Field Barn gallery and education complex at Henry Moore Studios & Gardens at Perry Green in Hertfordshire, east England.
The barn was originally a steel-frame farm building used for storage by Moore, and was later adapted by the architects HawkinsBrown in 1999. Now, following a £5m refit by the London-based architecture and urban design practice DSDHA, the building opens on 1 April with an improved suite of exhibition galleries and two purpose-built learning studios.
Inside Sheep Field Barn © Henry Moore Foundation, photo: Rob Hill
One of the galleries is dedicated to recounting the story of Moore’s life and work. Godfrey Worsdale, the director of the Henry Moore Foundation, says that by drawing on the foundation’s exceptional holdings of the artist’s work and its unrivalled archive, the exhibition places Moore firmly within the artistic, social and historical contexts of the 20th century.
“By foregrounding process, experimentation and education, as well as a remarkable range of Moore’s sculpture, the presentation reveals a more rounded and dynamic understanding of Moore as a great and versatile artist, but also a scholar, teacher, advocate and champion of the history and potential of sculpture,” he says.
Sheep Field Barn © Henry Moore Foundation, photo: Rob Hill
When Moore and his wife Irina settled at the 17th-century farmhouse called Hoglands in 1940 following the bombing of their London flat, he intended for them to stay there only for a few months. But he was so captured by the tranquility of the east Hertfordshire landscape that he would come to call it home for the next 40 years. Today, the gardens that surround the house and its neighbouring studio are occupied by the Henry Moore Foundation. The 72-acre parkland contains many of Moore’s most notable works, including the looming Large Reclining Figure (1984).
Alongside the main gallery presentation in the Sheep Field Barn, the first temporary exhibition in the upstairs gallery will focus on Moore’s influential Shelter Drawings, a group of 1940s drawings commissioned by the War Artists Advisory Committee.
“Showing Londoners sheltering in the London Underground during the Blitz (1940-1941), these were among the first works that Moore made after he moved to Perry Green from the capital,” Worsdale says. “The deeply moving scenes witnessed by Moore of people huddled together in cramped tunnels inspired a series of drawings that are both despairing and intensely human, combining vulnerability and resilience. This will be the first exhibition devoted entirely to this landmark series of works this century.”
Henry Moore with Sheep Piece (1971-72) at Perry Green, where the redeveloped Sheep Field Barn gallery opens in April Photo: Tim Graham
Future temporary exhibitions are being developed as part of a longer-term programme that will explore different dimensions of Moore’s practice and legacy, he adds. “The Sheep Field Barn is for everyone—from schoolchildren to academics and everyone in between. It has been designed as an inviting space for all that reflects Moore’s lifelong passion for art education,” Worsdale says.
The foundation is keen to prioritise art education by launching the learning studios suite and appointing a new learning and engagement coordinator. “For the first time in decades, working studio spaces will sit on the same site as Moore’s own, equipped with tools and resources to place making back at the heart of the site,” Worsdale adds.
Group of Draped Figures in a Shelter (1941), from the Shelter Drawings series depicting life during the Blitz © Henry Moore Foundation
The total £5m budget for the Sheep Field Barn refurbishment is wholly funded by the Henry Moore Foundation, he says. The foundation’s annual report for 2023-24 meanwhile states that it holds total funds of £127.4m. (The foundation, a registered charity, also runs the Henry Moore Institute in Leeds.)
The reopening of the Sheep Field Barn will coincide with the largest outdoor exhibition of Moore’s work ever presented. Thirty works by Moore will be displayed at Kew Gardens—a Unesco World Heritage site—in west London in the exhibition Henry Moore: Monumental Nature (9 May-31 January 2027), providing another platform for the sculptor who dominated 20th-century sculpture in the UK. The Henry Moore Foundation is lending most of the pieces, which include Large Two Forms, Oval with Points (1968-70), Reclining Woman: Elbow (1981) and Three Piece Sculpture: Vertebrae (1968-69).
Opening in May 2026, thirty works will be dotted around the 320-acre Unesco World Heritage site
Exhibition at East Gallery of Norwich University of the Arts aims to demonstrate the relationship between the two artists
The municipal observance comes 50 years after the city’s leading art museum launched an art centre devoted to Moore
Revamp of Henry Moore Foundation for 40th anniversary also includes opening of new visitor centre

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Keke Palmer has finally opened up and shared what she learned from the awkward interaction she experienced at SXSW.
Keke Palmer is reflecting on a viral moment when a man blindsided her with a public proposal that instantly went viral and put her on edge.
In March, Keke went to SXSW to do what she does best: show up, promote her work, and keep the room entertained.
But during a live recording of her “Baby, This is Keke Palmer” session tied to the premiere run for I Love Boosters, things took a hard left when a man in the audience walked up and proposed to her in front of everybody.
At first, Palmer seemed like she was trying to figure out whether the whole thing was some kind of a bit. In the moment, she responded with a mix of shock, humor, and politeness, making it clear she did not know the man and was definitely not saying yes.
What made the story hit harder later was Palmer’s own explanation of what was going through her head.
On the Wednesday, April 1, episode of the Decisions, Decisions podcast, she said she pretty quickly realized something was wrong.
“This is how I knew that something was wrong because the ring was nice,” Palmer said per PEOPLE. “It wasn’t like no Cracker Jack ring.”
“I’m serious, the ring looked expensive,” she said. “It looked expensive. That’s when I knew something was up.”

She also said that the man’s eyes told the whole story and showed that he was truly serious about his proposal.
“I’m serious, the ring looked expensive,” she said. “It looked expensive. That’s when I knew something was up.”
Palmer also seemed to take something bigger from the moment than just “that was weird.” In talking about it afterward, she framed the incident as a reminder of how complicated celebrity can be, especially when parasocial relationships get too deep.
“In the moment, this went from this is a joke to I gotta be careful with how I break the reality of this guy.” She continued, “This is nothing to play with, and that’s why I started feeling sad because I was thinking to myself, man, this guy is in a really bad way, man.”

The situation did not end with just an awkward clip and some secondhand embarrassment, either. PEOPLE reported that after the incident, the man identified as Kendall Demouchet had his SXSW credentials revoked, and he was arrested for criminal trespass after allegedly refusing to leave the property.
His arrest underscores that this was not simply a random unserious fan stunt. Festival officials treated it as a real safety issue, which aligns with why Palmer later described the whole thing with more concern than amusement.
What do YOU think about Keke Palmer’s viral proposal?

RELATED: UNCENSORED: Keke Palmer Dishes Deets On Motherhood, Manifesting & THAT Darius Jackson Dress Drama—’I Was In Shock’

The post Sorry To This Man: Keke Palmer Addresses Awkward Moment When Fan Proposed To Her–‘The Ring Looked Expensive’ appeared first on Bossip.
Sorry To This Man: Keke Palmer Addresses Awkward Moment When Fan Proposed To Her–‘The Ring Looked Expensive’ was originally published on bossip.com

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Karen Archey, the head of curatorial department at Kunstsammlung Nordrhein-Westfalen © K20 K21 Kunstsammlung Nordrhein-Westfalen; Düsseldorf; photo: Andreas Endermann
If you could live with just one work of art, what would it be?
I’ve been obsessed with Alice Neel for a number of years. When I started at K20/K21 Kunstsammlung Nordrhein-Westfalen, I was pleasantly surprised to see that they had recently acquired a significant work by Neel (The
Great Society, 1965). The artwork I would acquire for the museum doesn’t always align with what I would want to live with, but in this case it’s true: Neel’s works are in equal turns expressive, arresting, and deeply politically charged.
Which cultural experience changed the way you see the world?
The Grand Tour of 2007 [when the Venice Biennale, the Art Basel art fair, Documenta in Kassel and Skulptur Projekte Münster, Germany, coincided in the same summer]. I was in my last year of university and I travelled from Venice to Basel to Kassel to Münster and looked at every piece of art on that tour. Took notes on literally everything. It became painfully apparent to me how art functions differently in an art fair (Basel), in comparison to a biennial (Venice) and which audiences and activities they anticipate—and where I fit and do not fit in.
Which writer or poet do you return to?
I read poetry during periods of life in which I am too exhausted to maintain focus to read novels for pleasure. In the last week or so I’ve re-read The Hermit by Laura Solomon, Maggie Nelson’s Bluets, Nate Klug’s Rude Woods (a modern translation of Virgil’s Eclogues), and Kate Colby’s I Mean. I have read some of these a dozen times.
What music or other audio are you listening to?
I am currently listening to Sheriff Labrador through earmuffs and ear plugs because I’m trying to work and be a parent at the same time.
What is art for?
I know the answer; I’m just keeping it for myself.
• Anne Truitt: Pioneer of Minimal Art, K20, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany, until 2 August
Art, says the acting chief curator and senior curator of photography at MoMA, is about considering what it means to be human
Senior curator at Australia’s Art Gallery of New South Wales discusses her podcast recommendations and her multi-genre music playlist
From a childhood trip to the Pyramids of Giza to the ‘Empire’ podcast, the curator shares her cultural influences
The curator tells us about her cultural influences, from Izumi Suzuki’s short stories to the Detroit house music of Theo Parrish

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From explosive reunion showdowns to her unfiltered confessional interviews, Porsha Williams has consistently delivered some of the most talked-about moments in ‘RHOA’ history.
Don’t make us call….Porsha! From quotable quips to signature shade, Porsha Williams has delivered iconic quotes and moments for dedicated devotees of The Real Housewives of Atlanta since season 5. Whether she was clashing with castmates, asking copiously curious questions, or simply speaking her mind, the top-tier housewife’s unfiltered moments quickly turn into internet gold.
We’re almost certain she’ll have even more in store for #RHOA season 17 on April 5, and she can’t wait for fans to see the more sisterly season featuring her, Drew Sidora, Pinky Cole, K. Michelle, Angela Oakley, Shamea Morton, and Kelli Ferrell.
“This was not a dark season,” she told US Weekly. “It probably could have gone there, but it just wasn’t. We all want to be friends, and we’re grown.” 
She added,
“I think that everybody was very intentional on trying to have their own mind frame so we didn’t let one bad apple poison the bunch. Everybody was very intentional with, like, iIf I have an issue with somebody, I deal with it with that person. I do think that the intention towards the end was definitely for us to be one and not be a family divided. I love that.”

As we wait for the season ahead, let’s take a look back at some of Porsha Williams’ most memorable moments and shade-stirring clapbacks over the years.

Another unforgettable moment came during Season 5, Porsha’s first season, when she said “265 days a year” while discussing the charity work of her late grandfather, civil rights leader Hosea Williams. Porsha was attempting to explain to then castmates NeNe Leakes and Cynthia Bailey, that the organization, Hosea Feed the Hungry and Homeless, operates year-round, but the misstatement quickly caught the attention of both her fellow Housewives and viewers at home. The slip-up went on to become one of the most well-known “Porsha-isms,” highlighting her knack for delivering unintentionally hilarious moments.
Porsha Williams later told Glamour in 2025 that she nearly cried when she realized her mistake, but thankfully, Cynthia and NeNe showed her a bit of grace.
Porsha Williams also coined the fan-favorite phrase “Bye, ashy!” during a heated exchange with Kenya Moore in Season 5. The memorable moment unfolded after Kenya invited her to lunch to talk about the state of their friendship, but the conversation quickly took a turn. When Kenya insinuated that Porsha was Phaedra Parks’ pawn, tensions escalated and the gloves came off.
Porsha ultimately stormed out of the restaurant, tossing out “ashy” as an insult aimed at Kenya’s feet. The moment perfectly captured her quick wit and ability to turn confrontation into instant comedy.
During the first-ever virtual reunion for Season 12, Porsha Williams and alum Eva Marcille got into a heated argument after the latter took a dig at NeNe’s finances, citing allegations that the reality TV star got “evicted” and had “multiple foreclosures.” Irritated by the comments, Porsha stepped in to defend her friend. Eva clearly wasn’t having it. 
“Girl you’re an aged hen,” Eva barked at Porsha, to which the Bravolebrity replied: 
“Girl, those titties is aged hens, they social distancing… don’t come for me.
Hilariously, Porsha told Glamour in 2025 that she was feeling a little “toasty” at home after a few drinks when she made the shady remark.
Porsha Williams’ iconic line “Who said that?!” came during Season 9 of The Real Housewives of Atlanta.
The moment happened at a group event when tensions were already running high among the cast. Porsha was called out at the table for spreading a rumor that Kandi was “coming out of the closet” about her sexuality. Porsha, clearly confused and caught off guard, shouted to the group, “Who said that?!” as she looked around trying to figure out why and who spread the rumor. 
What made the moment so memorable wasn’t just the line itself, but her delivery. Other castmates, including Kandi, jumped in saying, “Who said that!?” They were also baffled by the rumor.
The quote has since become iconic because it perfectly captures Porsha’s unfiltered personality on RHOA.
During a group dance class in RHOA Season 13, the ladies learned how to twerk, but Porsha Williams had to offer a little help to former castmate Kandi Burruss, who couldn’t get the movement down. During a confessional, Porsha said that it was hard for her to understand why Burruss couldn’t shake her rump. 
“How could you not shake your butt, it’s so big. It’s just sitting there, like throw it,” she said hilariously on the season. Fast forward to the 6:20 minute mark for a laugh.
During season 6, The Real Housewives of Atlanta cast traveled to Savannah, Georgia, for a group trip filled with both charm and history. During their stay in a grand, slightly haunted mansion, the women explored the city by horse-drawn carriage and visited one of its oldest Baptist churches. As part of their itinerary, they also participated in a Freedom Trail tour, which highlighted important sites connected to the Underground Railroad during the years leading up to the Civil War.
At one stop, the tour guide explained that holes in the church floor once served as ventilation for enslaved people who passed beneath the building through a cramped crawl space, only about four feet high. The sobering history left an impression on the group, but it also led to one of the most unforgettable moments of the trip.
Clearly puzzled by the explanation, Porsha Williams revealed that she had misunderstood the concept of the Underground Railroad, thinking it referred to an actual train system. She famously said:
“Well, there had to be an opening for the railroad at some point because somebody’s driving the train. It’s not electric, like what we have now.”
Wow, just wow. This was a memorable moment indeed.
What are some of your favorite and most memorable Porsha Williams #RHOA moments?

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The post ‘Who Said That’, Clapbacks & A ‘265’ Days Dilemma: Porsha Williams’ Most Memorable #RHOA Moments appeared first on Bossip.
‘Who Said That’, Clapbacks & A ‘265’ Days Dilemma: Porsha Williams’ Most Memorable #RHOA Moments was originally published on bossip.com

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Leribault will need to draw on his considerable experience of running cultural institutions to revive the Louvre Luc Castel
The Musée du Louvre is in deep trouble, traumatised by the theft of the crown jewels last October and the non-stop high drama of the weeks and months since. The mission for its new director Christophe Leribault, according to President Emmanuel Macron, is one of “appeasement”.
Leribault’s arrival on 25 February coincided with Macron’s appointment of a close collaborator, Catherine Pégard, as culture minister after the resignation of Rachida Dati, who left to run in the March election for Paris mayor. In both cases, the contrast of characters is striking. Pégard, 71, is as discreet and cautious as Dati is outspoken. Leribault, 62, is a pure art historian with an unassuming demeanour. The reign of his predecessor, Laurence des Cars, has been criticised as autocratic and for prioritising style over substance.
The former head of the Château de Versailles, Leribault arrived after Des Cars’s desperate five-month struggle to save her job came to an end. A string of management failures had been confirmed in stinging reports from various bodies and parliamentary hearings in the wake of the heist.
As the Cour des Comptes (France’s state auditing body) put it, the Louvre “accumulated considerable delays in the deployment of its security equipment”, in favour of an “event-driven policy”, a judgment Des Cars said was “unfair”. But less than 0.3% of the budget was dedicated to security and fire prevention. In strategic documents prepared before the burglary, Des Cars had concluded theft no longer posed a threat to the museum.
“The robbery was made possible because of these inadequacies”, said Pierre Moscovici, the Cour des Comptes’s president. The parliamentary hearings found that upon her arrival in 2021, Des Cars chose to drop the safety plans launched by her predecessor and give top priority to her grand vision of a new entrance for the museum—a plan Macron enthusiastically endorsed.
Along with the scathing reports came a spate of calamities: floods, structural beam damage, revelations of a massive ticket fraud, along with a 40% rise in ticket prices for non-European tourists. Des Cars’s management style was described by Elise Muller, a union representative, as “top down, haughty and brittle”. According to the Cour des Comptes, the director had doubled the payroll of the management and spent €500,000 on setting up a private dining room.
From mid-December, staff conducted regular strikes in an unprecedented protest movement. Alexis Corbière, rapporteur for a parliamentary investigation committee, denounced a “hyper presidency” with “a director taking decisions all on her own”. In a damning verdict, his colleague Alexandre Poitier said “in any other country, or establishment, this list of failures would have long since led to the departure of the director.”
Des Cars, who rarely gives interviews, did not respond to a request for comment. She has failed to show up to two parliamentary hearings since her departure.
Does Leribault have what it takes to repair the damage? His CV is impressive. A passionate art history student, he studied at the Sorbonne, the École du Louvre and the Medici Villa in Rome, writing theses on the interiors of Parisian mansions between 1770 and 1830 and the French rococo painter Jean-François de Troy (1679-1752).
Apart from stints at the Getty in Los Angeles (where he says he survived without a driving licence) and the Wallace Collection in London, Leribault spent most of his career at Paris museums. He stayed 16 years at the Musée Carnavalet, dedicated to the history of Paris, before joining the graphic department of the Louvre for six years while taking care of the small Musée National Eugène-Delacroix, located in the artist’s workshop.
In 2012 he was appointed director of the fine arts museum in the Petit Palais in Paris, where he staged original exhibitions of little-known or forgotten artists with spectacular scenography, far removed from the staid displays of the Louvre. He promoted shows and acquisitions of artists from Scandinavia, Russia, Switzerland and the UK, mounted the first show on Oscar Wilde in France and shaped an outstanding pre-Raphaelite collection. Attendance jumped from 300,000 visitors in 2012 to 1.2m in 2018.
In 2021 he was appointed the head of the Musée d’Orsay, but only two years later, was called by Macron to hastily replace Pégard, who had been controversially kept in her post at Versailles for three years after the obligatory retirement age.
But Leribault’s biggest challenge yet is to fix the mess at the Louvre. The artist Erik Desmazières, who, like Leribault, is a member of the Académie des Beaux-Arts, describes “a modest man, even elusive”. (Leribault declined to be interviewed for this article.)
The staff of the Louvre have heaved a collective sigh of relief, according to one curator, who declined to be named. “From one day to another, the atmosphere changed,” he says. “Everyone was relieved. He knows the place and he knows everyone. He left excellent memories of his six-year stint here. He has always shown attention to the human side of the job. And he has this innovative capacity which can lead us further. This said, everyone knows the challenge is immense”.
A former manager of the Louvre describes the museum’s infrastructure as partially derelict. “Maintenance work, and even urgent repairs, were stopped for five years,” he says. “Overall, the museum has lost at least eight years in even the most basic structural update.”
The government and parliament agree that top priority must be given to the implementation of technical masterplans that come with an estimated price tag of €480m. The elephant in the room is the pharaonic project for a new entrance, leading to a 93,000 sq. m subterranean complex around the Mona Lisa and an exhibition hall, which Macron still supports. The estimated budget for this part has already increased to €666m from €400m. The plan is considered “financially unsound” by the Cour des Comptes and was criticised in parliament. Sponsorship funding set at €300m has yet to be found. Technical studies, especially on the underground flood risk along the banks of the Seine, have not been concluded.
Yet Des Cars had already launched an architecture competition, which has now been suspended. In the budget for this year, she included €100m spending for the controversial project’s preliminary studies. A meagre €17m was allocated to the technical masterplans, with only €1.8m earmarked for the safety of the collections and €500,000 for fire prevention.
The staff unions consider the new entrance project “insane” and demand that it be dropped. Navigating Macron’s desires while finding a way to “appease” staff and angry MPs will require all the professional prowess and dexterity Leribault can muster.
The Paris museum has been struggling for years against over-attendance
Christophe Léribault will replace Laurence des Cars following her resignation and Annick Lemoine will take up the vacant position after the sudden death of Sylvain Amic
The French museum is now seeking funds to buy the still-life painting, which was sold last week by Artcurial to a US dealer for €24.3m

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The “Glory” singer and Oscar winner heads to the legendary management company joining Rihanna, Megan Thee Stallion and Clipse.
John Legend is making some changes. No, not in his music, but in his management. He’s leaving manager Ty Siklorious after almost 20 years.
But it’s not all bad news for Legend or Siklorious. He’s heading to Roc Nation, and per the Hollywood Reporter, which first shared the news, she’ll continue to be his partner in both his for-profit and non-profit endeavors.
Siklorious helped the “Glory” singer found John Legend Ventures soon after his 2004 debut, Get Lifted. And he stayed on her roster when she left Troy Carter’s Atom Factory to start her own company, Friends at Work.
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Over their time together, Legend, 47, became one of 28 EGOT winners, the first Black man to do so. He’s won 13 Grammys and an Oscar in 2015 with Common for “Glory” from the Selma soundtrack, a 2018 Emmy for producing Jesus Christ Superstar Live, and a Tony for producing Jitney. He achieved the feat by 2018.
“It’s kind of surreal. It’s something I never even thought about when I started my career,” Legend said at the time. “I probably wanted to win some GRAMMYs and sell a lot of records, and all that started happening pretty quickly, but I never dreamed that I would be here, winning an Emmy, and being in that rare group of people that have won all four of these major [awards].”
After achieving that much success with Stiklorious, his move to Roc Nation could signal a desire to refresh his career. Roc Nation currently manages Megan Thee Stallion, Rihanna, and Clipse, among others. Legend hasn’t released an album since 2024’s My Favorite Dream, his first children’s album. While he’s on the road this spring and summer on the Songs & Stories Tour, new management might help return him to the place he once occupied in the pop culture firmament.
“Twenty years is a lifetime in this business, and I’m proud of the work John and I did together that was rooted in creativity, trust, love, and ambition,” Stiklorius said in a statement she provided to THR. “I’m energized by what’s ahead for both of us as I pass the music management baton to Jay Brown at ROC Nation. I continue to be John’s partner in the many for-profit and non-profit ventures we built together and John’s biggest champion.”

John Legend Signs Management Deal With Roc Nation was originally published on cassiuslife.com

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Pierre-Auguste Renoir, Les Poissons (1917)
Fondazione Magnani-Rocca
Paintings by Renoir, Cézanne and Matisse have been stolen from a private museum near the Italian city of Parma in the north of the country. According to a statement from the carabinieri (Italian police), four men entered the Magnani-Rocca Foundation, housed in a rural villa south of Parma, on 22 March to remove Les Poissons (1917) by Pierre-Auguste Renoir, Still Life with Cherries (around 1890) by Paul Cézanne and Odalisque on the Terrace (1922) by Henri Matisse.
According to the Italian newspaper Il Corriere della Sera, the hooded criminals entered by forcing open a door. According to a statement provided by the foundation to the newspaper, the thieves took less than three minutes to carry out the theft, partly because the alarm system was activated, forcing the gang to flee.
The lawyer Christopher Marinello, the founder of the company Art Recovery International, tells The Art Newspaper that “the criminals, who must have scoped out the building in advance, will look to cash out as quickly as possible. They’ve also learnt from the Louvre theft [last year] that they can get into any museum if they cover their faces and move quickly enough. Museums need to start thinking about the possibility of the three-minute theft.”
In a post on LinkedIn, the intellectual property lawyer Eloise Calder said: “As methods evolve and operations seem to become more targeted and sophisticated, the challenge is no longer just recovery but prevention. For now though, the immediate focus is on the safe and swift return of these stolen works, something the art world will be watching closely.”
The Villa Magnani, home to the Magnani-Rocca Foundation
Photo: Chiara Saffioti
The Magnani-Rocca Foundation is one of the most significant private art collections in Italy, housing works by artists such as Dürer, Titian, Rubens, Van Dyck, and Goya. It was founded in 1977 by the collector Luigi Magnani and opened to the public in 1990. The foundation was contacted for comment.
UPDATE 30/03/2026: This article was updated on 30 March 2026 to correct an image error. An earlier version used an image of Paul Cézanne’s Still Life With Cherries And Peaches, rather than Still Life with Cherries.
This will be the first exhibition dedicated to the great master’s portraits since 1910
Non-selling exhibition at Gagosian Hong Kong includes works from Asian private collections
Four works recently returned to heirs of the influential French dealer Ambroise Vollard will go under the hammer in New York next month
The Estorick Collection of Modern Italian Art will display the 50 works by the Italian artist held in the Magnani-Rocca collection

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If you grew up on 90s and early 2000s Black entertainment, then Bill Bellamy is a name you definitely recognize. From stand-up comedy to iconic movie roles and hosting gigs, Bellamy helped shape a..
If you grew up on 90s and early 2000s Black entertainment, then Bill Bellamy is a name you definitely recognize. From stand-up comedy to iconic movie roles and hosting gigs, Bellamy helped shape a whole era of culture, humor, and storytelling.
Here are 9 must-watch TV shows and movies that showcase his range and impact:
Bellamy plays Hollywood in this classic Black romance film starring Larenz Tate and Nia Long. His comedic timing adds balance to one of the most beloved love stories in Black cinema.
This is prime Bill Bellamy. He stars as a smooth-talking ladies’ man trying to juggle multiple women at once. A true 90s cult classic.
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Directed by Oliver Stone, this football drama features Bellamy alongside Jamie Foxx and Al Pacino. He plays wide receiver Jimmy Sanderson.
A staple in Black film culture, this movie dives into love, commitment, and friendship among four men navigating relationships.
A high-energy action series where Bellamy plays Detective Deaqon Hayes. Think flashy cars, undercover missions, and early-2000s style.
Bellamy stepped into hosting, bringing charisma and humor while spotlighting rising comedians.
Created by Issa Rae, Bellamy pops up in this modern Black classic, showing he can still connect with new generations.
Before everything else, Bellamy was THAT guy on MTV. His personality helped define 90s hip-hop media culture.
Bill Bellamy is more than just a comedian, he’s a cultural bridge between generations. From classic Black films like Love Jones to hosting on MTV and appearing in modern shows, his career shows consistency, charisma, and evolution. If you’re building your watchlist, this is a perfect place to start.
RELATED: Bill Bellamy Says He Passed on Dating Janet Jackson: ‘I Fumbled’

9 Bill Bellamy TV Shows and Movies You Must Watch was originally published on wtlcfm.com

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The hits made them stars, but the deep cuts made us fans! See if you know any of these “B-Side Bangers” by Jill Scott.
Today is about to be a soulful birthday celebration, as Philly-bred R&B queen Jill Scott celebrates her milestone 53rd lap around the sun!
In a career that’s spanned over 25 years and counting, it’s amazing to see how “Jilly from Philly” has evolved from the definitive Words And Sounds series up to her grand return in February 2026, after an extensive 11-year hiatus, with her sixth album, To Whom This May Concern.
The project’s latest single, “Pressha,” has been fairing pretty well for the neo-soul icon, even topping Billboard’s Adult R&B Airplay chart back in March.

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It’s safe to say that Scott knows her way around a hit record. Songs like “Gettin’ In the Way,” “A Long Walk” and “Golden” were staples in presenting her signature sound; collaborations like “Daydreamin’” with Lupe Fiasco, “So in Love” with Anthony Hamilton and “So Gone (What My Mind Says)” alongside Paul Wall proved she plays quite well with others. From contemporary R&B and classic jazz to a certified adults-only bedroom banger — we’re looking at you, “The Way”! — this is a woman that has all her bases covered.

We figured if anyone deserved a deep dive into their discography, Jill Scott is more than fitting for a “B-Side Bangers” exclusive. In addition to the aforementioned greatest hits, there’s so much more to love when you dig into the album cuts, soundtrack contributions, and feature guest appearances on albums by equally-talented musicians. This one will certainly be a treat on your ears.

*Following Jill Scott’s split after a decade with the label, Hidden Beach Recordings released The Original Jill Scott from the Vault, Vol. 1 of unreleased early material in response to a 2011 lawsuit settlement that also included her 2015 greatest hits compilation, Golden Moments.

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As Morton Mwangi steps fully into her Housewife era, the Atlanta star opens up about her daughters, resilience, and building a future beyond the cameras.
For Shamea Morton Mwangi, “The Real Housewives of Atlanta” has never just been about the drama.
As Season 17 kicks off, the newly full-time Housewife is stepping into a chapter that’s neither defined by shifting friendships nor business ventures, but instead personal milestones like motherhood, legacy, and the quiet victories happening at home.
“I’m so happy you asked me about my girls—that’s my favorite thing to talk about,” Morton Mwangi told theGrio, her face lighting up as she shifted from Housewives headlines to what matters most.
While Bravo teases a season filled with tension, Morton Mwangi’s storyline is rooted in something deeper. Yes, there are fractured friendships—including the emotional fallout from her longtime bond with Porsha Williams —and yes, she’s exploring new ventures, including launching a rum brand. But at the center of the bigger picture are her daughters.
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Morton Mwangi is a mother of two: 7-year-old Shya and 3-year-old Shiloh, who has special needs. While reality TV often amplifies conflict, Shamea is choosing to highlight growth—especially when it comes to her children.
“Shya is amazing. She’s the best big sister ever,” she said. “She has handled having a little sister with special needs with such grace and kindness.”
That grace didn’t come overnight. Morton Mwangi is candid about the adjustment period her family experienced, but today, she sees a bond that continues to evolve in beautiful ways.
“She walks around like, ‘Shiloh, don’t do that, don’t touch that,’” she said with a laugh. “Shiloh will rake the table clean; everything will be on the ground. And then Shya’s right behind her, picking everything up.”
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Shiloh, who turned three on Valentine’s Day, is still nonverbal and continues to receive multiple therapies. But Morton Mwangi speaks about her daughter’s journey with a mix of honesty and optimism
“She’s walking now… she’s still nonverbal, but that’s temporary,” she said. “She’s still doing all of her therapies, from speech to OT to PT. My girl is kicking tail.”
Recently, Shiloh reached a milestone that felt especially meaningful—transitioning from purees to table food. While Morton Mwangi shared that she still has a G-tube (gastronomy tube) in case of emergency needs, she’s showing great signs of improvement.
“She ate some of my spaghetti,” Morton Mwangi said, smiling. “And some Chick-fil-A macaroni and cheese. We chopped it really small, but I want to celebrate all of those things.”
That celebration of progress is something she hopes viewers take with them this season.
As she steps more fully into her role on “RHOA,” Morton Mwangi is also thinking long-term about what she’s building for herself and her daughters.
“I think it’s important for me to leave a legacy… to show them that, yeah, you can be a kept woman,” she said. “But you can also stand on your own. You can bring your own bag.”
That mindset is fueling her next chapter, from entrepreneurship to future ventures rooted in community and children.
“I believe the children are our future,” she added. “By 2027, I will definitely have a business that has something to do with children.”
Keeping focused on the new positives in her life is a recurring theme for Morton Mwangi, who answered a question about her fractured friendship with Porsha Williams with an upbeat candor.
“I’m super excited to be coming into my sophomore season of ‘Housewives of Atlanta,’” she told theGrio. “The girls are lovely, right? I’ve gotten to know so many of them. I’ve even become best friends with Kelli. So, you know, in all of the mess, there’s always some blessings. But I will say it was very difficult to not only experience, but watch it.”
“That’s the thing that people don’t understand,” Morton Mwangi continued. “You live through it, then you watch it, and then you go over it all over again at the reunion. It’s never fun when those types of things happen, especially since we were childhood friends. So that wasn’t fun to watch or experience, actually.”
Season 17 may bring its share of tension, especially as friendships shift and new cast dynamics emerge, but Morton Mwangi says there’s still space for joy, growth, and even new beginnings.
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In fact, she’s formed an unexpected bond with newcomer Kelli Ferrell, calling their friendship “a breath of fresh air.”
“I used to be like, ‘no new friends,’” she said. “Now I’m like—that is total bull. I couldn’t be happier with the new friends I’ve gained. Not just Kelli, but our new castmates, Pinky Cole and K. Michelle.” 
“Kelli and I have become the closest because we have so much in common,” Morton Mwangi continued. “She’s a great mom to four beautiful daughters. I’m minus two shy of her record. But she does motherhood so well, and just being able to juggle it all, motherhood, being an entrepreneur, owning her franchise ‘Nana’s Chicken and Waffles.’ Just seeing her in her element and doing all the things, that’s the type of person I want to be around. It’s actually motivated me to dig into my entrepreneurship bag, and possibly open up some new things.”
The new season of “Real Housewives of Atlanta” premieres Sunday, April 5, on Bravo (8 pm ET/PT) and streams the next day on Peacock.

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“The very programs the Trump administration rails against as ‘woke,’ normal households all across the country simply see as critical to their survival.”
The Black unemployment rate slightly dipped in March, showing modest signs of improvement for Black workers; however, critics warn that President Donald Trump’s newly proposed budget for FY2027 threatens to further drive economic disparities for Black Americans.
The new jobs report from the U.S. Bureau of Labor Statistics showed that the unemployment rate for Black Americans dropped to 7.1%, down slightly from 7.7% the prior month.
Economists tell theGrio that while the new jobs report is encouraging, pain points still exist for Black American workers, especially amid looming federal cuts to services and programming.
“The decline in the Black unemployed from 7.7% to 7.1% is significant and encouraging. But don’t be surprised if it rises again as month-to-month changes obscure the overall trajectory,” said Andre Perry, a leading racial and structural inequality researcher at The Brookings Institution. He told The Grio, “The unemployment rate is still troublesome as there seem to be fewer available jobs overall and fewer people seeking them.”
Angela Hanks, chief of policy programs at The Century Foundation and a former U.S. Labor Department official, told theGrio, “While this month’s decline in the Black unemployment rate is welcome, it is still nearly a point higher than it was a year ago and double the white unemployment rate.”
Hanks added, “Moreover, the domestic cuts the President proposed in his FY 2027 budget, combined with cuts to health care, food assistance, and education in his 2025 budget law and an ill-advised war with Iran, threaten to drive Black unemployment higher over the long term.” 
On Friday, President Donald Trump unveiled his 2027 budget, which includes a 10% cut to discretionary spending and a record $500 million increase in military spending. The White House also published a “Cuts to Woke Programs” list, highlighting budget cuts to several programs aimed at boosting Black employment and entrepreneurship.
Those cuts include the elimination of the Minority Business Development Agency, which the Trump administration said funded “many divisive and discriminatory projects, limiting award eligibility on the basis of race and ethnicity, only supporting businesses owned by designated ‘minority’ groups.” The White House specifically highlights $3 million that was previously awarded to a national Black Lives Matter organization, ‘whose president declared that antifa rioters during the Summer 2020 riots were ‘White Supremacists’ and ‘Russians’ in disguise.’”
The Trump budget proposal also makes cuts of hundreds of millions to various racial equity programs, including environmental justice, housing assistance, healthcare research, and education programs to drive literacy and create pipelines for diverse teachers.
The White House is also proposing eliminating the Community Development Financial Institutions (CDFI) Fund, citing former Vice President Kamala Harris’s involvement in the Fund’s Equitable Recovery Program to build a “more equitable, resilient economy.” During the Biden-Harris administration, investments in CDFIs through the Treasury Department were used to bolster community banks to issue loans to Black-owned businesses, which often face higher denial rates from larger, traditional banks.
“Trump’s economy has added fewer than 300,000 jobs in the past year, and the unemployment rate for Black Americans is still at pandemic-era levels. Those two pieces of data are scary to you and me, but for the White House, this is what their agenda called for the entire time,” said Brandon Weathersby, a spokesperson for the political research firm American Bridge 21st Century. “The latest budget request would gut another $73 billion from the programs that keep families afloat and put the American Dream within reach. The very programs the Trump administration rails against as ‘woke,’ normal households all across the country simply see as critical to their survival.”
Weathersby continued, “Meanwhile, Trump is burning through at least a billion dollars a day on a war in Iran that nobody voted for and nobody wanted. Instead of feeding families, this administration is prioritizing dropping bombs in the Middle East.” He added, “This war’s true cost is measured in the children who go hungry, the families stretched past their breaking point, and the futures gutted so that Trump can wage aimless wars across the globe. The MAGA agenda has always had its priorities, and now every American can see them plainly.”
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While Power Five athletes move through a well-established pipeline, many HBCU players are forced to take a different route.

HBCU football players keep proving they belong at the highest level. But when draft night comes around, the numbers tell a different story.
There’s no shortage of talent coming out of historically Black colleges and universities. That’s been true for decades. But according to reporting from HBCU Sports, that talent isn’t translating into consistent opportunities in the NFL Draft. At this point, the pattern is hard to ignore. Every year, fans tune in hoping to hear at least one HBCU name called, and the fact that it’s even a question says everything about the level of visibility these athletes are getting.
The 2025 NFL Draft made that gap even more obvious. Only one active HBCU player was selected. Just one. And while some might try to read that as a reflection of talent, that’s not what’s actually happening. The talent is there. The problem is how often it’s being seen—and who’s being prioritized.
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And now, with the 2026 NFL Draft just weeks away, that same question is back on the table. Because this next class isn’t short on ability. It’s full of players who’ve already proven they can compete. The real issue is whether the system will finally recognize it. Whether scouts, front offices, and decision-makers will expand who they see as “draft-worthy,” or whether HBCU athletes will once again be pushed to the margins and forced to prove themselves after the fact instead of being valued from the start.
Because while Power Five athletes move through a well-established pipeline, many HBCU players are forced to take a different route. Instead of hearing their names called on draft night, they’re signing as undrafted free agents, fighting for roster spots at rookie minicamps, and having to prove themselves all over again just to get the same shot.
That’s part of why events like the HBCU Legacy Bowl matter. The NFL has started putting more attention on these showcases, giving standout players a chance to perform in front of scouts and decision-makers. It’s a step forward, but it’s not the same as being fully integrated into the traditional draft pipeline. These players are still being asked to go above and beyond just to be considered.
And here’s the contradiction: the interest is there.
According to HBCU Gameday, multiple HBCU players continue to draw attention ahead of free agency, with teams recognizing their potential and bringing them into camps. So the league is clearly seeing the talent. It’s just not consistently translating into draft-day opportunities. That creates a frustrating reality where HBCU athletes are respected—but not prioritized.
At the same time, the landscape of college football is shifting. With the rise of the transfer portal and NIL deals, players with NFL potential are often incentivized to leave HBCUs for larger programs that offer more exposure and resources. And while that may make sense individually, it raises a broader question about what it means for HBCU programs in the long term. If the system rewards leaving, how do these programs continue to build and keep the talent they develop?
Maybe the question really isn’t about ability, but access. HBCU players are producing. They’re showing up. They’re earning opportunities wherever they can. But until the draft reflects that reality, the pipeline will remain uneven.
And that means too many of these athletes will keep taking the harder path to the same destination and working twice as hard just to be seen.
Jodi Ham is a junior broadcast journalism major at Howard University. She is interested in sports reporting. You can follow her on Instagram @jh_armani
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The NFL Says It Wants HBCU Talent, So Why Are These Players Still Getting Overlooked? was originally published on newsone.com

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