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Alexander Calder with Snow Flurry I (1948) in a 1952 photograph by Gordon Parks © Gordon Parks Foundation; © Calder Foundation, New York/ADAGP, Paris; courtesy Calder Foundation/Art Resource
• Click here for more reading lists on the world’s greatest artists
The US artist Alexander Calder (1898-1976) did not invent hanging sculptures but with his mobiles he took them to a new level of mastery and innovation. This month, an exhibition of almost 300 works at the Fondation Louis Vuitton in Paris will take visitors through the development of these carefully calibrated sculptures, as well as looking at the artist’s wider practice. Here, the show’s guest curators Dieter Buchhart and Anna Karina Hofbauer have selected a careful balance of books to help us better understand Calder’s life and work.
“Jed Perl’s paired volumes are the definitive resource for anyone looking for a comprehensive account of one of the 20th century’s most consequential artists. Based on unprecedented archival research and numerous interviews, this work situates Calder within the evolution of Modernism on the old and new continents, bringing to life all the friendships and intellectual currents that shaped his personality and oeuvre.”
“The only book that could possibly provide a more intimate sense of Calder as a man is his autobiography. Thoroughly illustrated with family photos, postcards, exhibition posters and artworks, the book vividly recounts Calder’s story through the eyes of a seasoned artist looking back while remaining fully engaged in creation.”
“Calder/Miró, produced for the exhibition at Fondation Beyeler in 2004, explores the creative dialogue between Calder and his avant-garde peer Joan Miró. Documenting a lifelong friendship, this lavishly illustrated catalogue highlights shared artistic strategies, concentrating on their holistic understanding of space in art.”
“This exhibition catalogue is notable for its abundance of scholarly essays concentrating on the movement and theatricality inherent to Calder’s sculptural practice. Elegantly illustrated with his wire works, film stills, sketches and more, the book offers remarkable insights into Calder’s work for the stage, and how he introduced choreography and sound into his art at large.”
“This lovely little story highlight’s Calder’s youthful curiosity and ingenuity; how a boy who loved tinkering with wire and odd bits of material moved to Paris and created a miniature, moveable circus. With imaginative illustrations by Boris Kulikov, Tanya Lee Stone’s story makes for an inspiring and accessible introduction to one of the many dimensions of Calder’s work.”
• Calder: Dreaming in Equilibrium, Fondation Louis Vuitton, Paris, 15 April-16 August
The $70m centre will feature indoor and outdoor spaces with rotating exhibitions of Calder’s work
An early example of Calder’s most famous creations, the work carries a record estimate of $15m to $20m
The $70m Calder Gardens is a unique space serving as both a celebration of the artist’s work and a meticulously landscaped oasis on the city’s grandest boulevard

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The Smithsonian Castle, Washington, DC Photo: Nate Lee, via Wikimedia Commons
The Smithsonian’s Board of Regents, the governing body of the Smithsonian Institution, is down to 15 members after two of its trustees’ terms expired on 2 March. Their replacements have yet to be announced.
Risa J. Lavizzo-Mourey, a doctor and expert in health policy and geriatric medicine, was formerly the board’s chair. John Fahey, chairman emeritus of the National Geographic Society, also left the group last month. Both had been appointed under Barack Obama in 2014. (Regents serve a maximum of two six-year terms.)
According to Robin Pogrebin of The New York Times, the term of a third regent—the American Airlines board member Denise O’Leary, appointed under Trump in 2020—is set to expire next week. In addition, three more regents’ terms will expire in the autumn. No concrete plans have been made to replace any of them nor to renew the terms of those who are eligible. The Board of Regents had reportedly decided on Lavizzo-Mourey and Fahey’s potential replacements last year, but the list of names was never forwarded onto Congress.
Both Congress and President Donald Trump need to approve new members of the Board of Regents. Given the Trump administration’s recent moves to reorient the Smithsonian, the delay in appointments is unsurprising and may signal an attempt to exert greater control the institution.
In an executive order issued in March 2025 titled “Restoring Truth and Sanity to American History”, Trump tasked Vice President J.D. Vance with overseeing the removal of “divisive, race-centred ideology” from the Smithsonian and denying funding to exhibitions and programming that “degrade shared American values”. Vance was to “remove improper ideology” from the Smithsonian Institution and work with congressional Republicans to “seek the appointment of citizen members to the Smithsonian Board of Regents committed to advancing the policy of this order”.
In the year since signing that order, the Trump administration has put additional pressure on the Smithsonian to bend to his political will. This included a prolonged political attack on Kim Sajet, the longtime director of the National Portrait Gallery (NPG), which led to her resignation in June. Last summer, the White House also launched a review of Smithsonian museums and exhibitions to “ensure alignment with the president’s directive to celebrate American exceptionalism”.
Trump later slammed the Smithsonian for concentrating on “how bad slavery was” and published a list of grievances related to “wokeness” under the heading “President Trump Is Right About the Smithsonian”. While Lonnie G. Bunch III, the Smithsonian’s secretary, attempted to calm both the president and an outcry among museum workers, artists pulled out of exhibitions and cancelled programming, accusing Smithsonian museums of censorship.
After the end of the longest government shutdown in US history—which had a disastrous effect on museum attendance in Washington, DC—Trump renewed his investigation into the Smithsonian. At the same time, he began finessing his own image in the NPG’s permanent display of presidential portraits: wall text mentioning his impeachments was removed and his administration suggested that the museum create a special section for multiple portraits of him.
In response to the president’s targeting of National Portrait Gallery director Kim Sajet, the organisation has issued a strategically broad statement, touting its independence and governance by a board and secretary
The White House has given the Smithsonian Institution until 13 January to provide a trove of materials about planning and procedures at eight of its museums
Lonnie G. Bunch III, the Smithsonian’s secretary, wrote in a staff letter and another addressed to the White House that the institution will continue its internal review
In a letter to the Smithsonian leader Lonnie G. Bunch, members of Trump’s administration said they want to “ensure alignment with the President’s directive to celebrate American exceptionalism”

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The Helmet of Cotofenesti (c.45BC)
Photo: Wikicommons
A golden helmet from the ancient eastern European Dacian civilisation stolen last year in a smash and grab from a Dutch museum has been recovered and revealed—surrounded by armed police—at a press conference in Assen.
The Helmet of Coțofenești ( around 450BC) and two golden bracelets (around 50BC), stolen in a raid on the Drents Museum in Assen in the early hours of January 25 last year, have been handed back shortly before a court case will begin against the alleged thieves. A third bracelet is still missing.
Corien Fahner, chief public prosecutor in the Noord-Nederland region, told a room full of reporters on Thursday that the objects were recovered on 1 April as part of a plea deal by three suspects accused of the robbery.
Robert van Langh, the director of the Drents Museum, says the recovery was a “wow” moment and that they were extremely happy to hand back the objects to Romania. “On the golden helmet of Coțofenești, as you can see, two eyes are depicted,” he says. “They are meant to protect both the wearer and the helmet itself against the evil eye, against misfortune.”
“They have done so successfully for centuries, and even today they seem to prove their value,” he adds, in spite of last year’s theft.
Van Langh was there to authenticate the objects at a handover—negotiated by the suspects’ defence team—yesterday and said that he was in a position to assess the damage. A small repair which had previously been made with glue has been damaged, he says, and there’s a new dent in the helmet. However, he said, the helmet sometimes described as Romania’s “Night Watch” in terms of its importance, was largely intact.
“In the state it is in now, it can be fully restored,” he says. “It’s difficult to see but the helmet is slightly dented. The bracelets are in a perfect state.”
The objects were part of an exhibition tracing the story of the lost Dacian civilisation from around 450 BC, with 670 objects on loan from the Romanian National History Museum in Bucharest. In January, the Dutch culture minister reported that it had paid €5.7 million in compensation to Romania in compensation for the theft of cultural objects.
Romanian politician and member of the European Parliament, Daniela Buruiană said a recovery team was set up within 10 days of the theft and that they were now “very happy” with the result.
The robbery of the Doesburg Silver Museum is the latest in a spate of precious metal heists in the Netherlands
Prosecutors have revealed evidence that suggests three golden armbands and a €4.3 million helmet—belonging to the Dacian civilisation—have not been melted down
The objects, on loan from the Romanian National History Museum in Bucharest, belonged to members of the lost Dacian civilisation
The items—which include a helmet discovered by playing children—belonged to members of the lost Dacian civilisation

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Staying local, hosting family or friends, or planning a quick escape for the week or weekend? Whatever your weekend looks like, I hand-picked the art events to add to your calendar.
April 7 – The Sound of Gordon Parks Opens at California African American Museum (Los Angeles, CA)
April 7 – Kinfolk: Memory Workers Meetup at Someday Gallery (Detroit, MI)
April 9 – 10 – EXPO Chicago: Contemporary Art Fair (Chicago, IL)
April 10 – Caroline Chinakwe Solo Exhibition at London Contemporary Art Gallery Opens (London, UK)
April 11 –  Conversation with Oscar-Winning Film Director and Screenwriter Kevin Willmott at Bruce R Watkins Cultural Center (Kansas City, MO)
April 18 – 50th Anniversary Block Party MoMA PS1 (NYC)

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Stay ahead of the contemporary art scene with The Black Curation. We specialize in highlighting emerging Black artists and the most anticipated Black art exhibitions throughout the United States. Whether you are looking for upcoming art fairs or art collecting tips with curated guides help you navigate the rich world of modern Black art..
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The video surfaced as the crew on the film’s set went on strike, claiming unsafe working conditions.
Jonathan Majors’ Hollywood comeback fell out of a window with him, literally.
Deadline obtained exclusive video of Jonathan Majors accidentally falling out of a window while filming his untitled Daily Wire and Bonfire Legend’s produced action flick.
The video shared by the website came out as the crew on the film’s set went on strike, claiming unsafe working conditions.
In the clip that is circulating on social media, Majors and his co-star, JC Kilcoyne, fall out of a window while filming a scene. Sources revealed to the website that Kilcoyne required stitches “all over his hands” after the fall that they claim was about six feet to the ground.
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When asked for comment by The Hollywood Reporter, Dallas Sonnier of Bonfire Legend said “The actors’ fall was shorter than the failed movie careers of the now-union reps.”
Producers also said they “don’t negotiate with communists” regarding the crew going on strike.
Bruh.
Kyle Rankin serves as writer-director on the film, with Ben Shapiro producing for The Daily Wire and Sonnier for Bonfire Legend.
Social media has been chiming in, wondering what communism has to do with the unprofessional shenanigans on the film set.
“I’m confused on who the communists supposed to be lmfao,” one person wrote in response to the producer’s comments.
Another social media user wrote, “This is what happens when you legitimize right wing fascists in Hollywood. I only feel sorry for the low level crew members subjected to these working conditions.”
This movie already sounds like the purest of struggles.
You can see more reactions below.
Jonathan Majors Falls Through A Window On Set of Daily Wire Untitled Action Film was originally published on cassiuslife.com

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Scholars traced Gen Z’s vernacular to its roots in African American language traditions and history.
Popular Gen Z slang words like “rizz” and “slay” have become so widespread that these terms topped Unscramblerer’s list of most popular slang in 2025. But where do these buzzworthy words come from, and how do they become so deeply embedded in our everyday language that friends and even parents start using them? Experts say many of the words now labeled as Gen Z slang actually have roots that reach back centuries, particularly in Black culture and to African American Vernacular English (AAVE).
A report by NBC News correspondent Marquis Francis explored the history of some of these phrases with language enthusiasts. According to the report, some of these words emerged during periods of enslavement, born out of struggle and trauma. Linguists note that such language was often used to communicate openly within the community while remaining opaque to outsiders. Today, many of these words are recognized as part of African American Vernacular English (AAVE), also called Ebonics.
As previously reported, historians believe AAVE’s roots trace to English dialects introduced to the American South in the 17th and 18th centuries, according to The Oxford Handbook of African American Language. These dialects were adopted and adapted by African Americans, influenced by both British English and African languages, as well as Caribbean creole varieties brought over by enslaved people. Although AAVE is frequently mischaracterized as slang or “incorrect” English, it is a fully distinct linguistic system with its own grammar, vocabulary, and pronunciation patterns — such as dropping “-ing” (e.g., “goin’” instead of “going”) or r-lessness, and substitutions like “fo’” for “four” or “he be” instead of “he is.”
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Over time, this vernacular evolved. Many of the popular Gen Z terms that thrive today eventually circulated within popular Black subcultures, including early hip-hop and underground drag scenes, and were not widely embraced by the mainstream. Words with letters dropped, or entire phrases combined to form new expressions, were often dismissed as improper speech associated with poverty or lack of education. 
Those negative stereotypes still exist today. A 2021 study involving 20 audio recordings of 14 Black North American men and six Black British men asked participants to guess the speakers’ race and age. The study found that speakers perceived as using AAVE were more likely to be stereotyped as “lazy,” “uneducated,” and “poor.” Controversies surrounding AAVE are not new — the 1996 Ebonics debate, in which the Oakland, California, Board of Education recognized it as a primary language to improve literacy, sparked nationwide discussion and criticism.
Today, however, these terms have permeated the default dialect of a generation, transcending race, region, and class in the digital age. Critics, however, have highlighted the erasure of Black origins, pointing out that non-Black Gen Zers often use these words without understanding their cultural significance and complicated history.
“I don’t necessarily say that no one else can speak it, but what I do say is it comes from those people that created it,” said Sonja Lanehart, a linguistics professor at the University of Arizona and the author of The Oxford Handbook of African American Language, which she wrote to address misconceptions around AAVE.
Linguists warn that when a word’s origins are viewed negatively or stripped away, it can erase a community’s history, a potentially dangerous consequence. For Jamaal Muwwakkil, a sociocultural anthropologist and linguist, it is crucial that Gen Zers understand the history of these words and credit the people who created them.
“It doesn’t make any sense to me that you can hear a word and then say, ‘That word sounds cool or it’s interesting; let me never look into it and just start saying it,’” Muwwakkil told Francis. “That seems strange to me.” He explained that AAVE was more than slang: it was a tool for enslaved people brought to the U.S. in the 17th century to find common ground among themselves, using language to communicate within the community while remaining covert to outsiders. It was a form of protection. 
Language experts stress that African American language is not exclusive to Black people, but understanding its history and giving proper attribution is essential. Without that recognition, some people may benefit from the language, while those who created it are often erased.
SEE MORE:
Breaking Down The Stereotype: What Is ‘Talking Black’?
Black Terms Abused, Overused By The General Public
Gen Z Slang Deeply Rooted In Black Culture, Linguistic Experts Say was originally published on newsone.com

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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?

RELATED CONTENT: Phone Porsha, ASAP! Simon Guobadia Deported Back To Nigeria After Being Released From ICE Custody
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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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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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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