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Moore, who died months after being diagnosed with brain cancer in 2021, was a staple in the Atlanta community as an anchor for WSB-TV and more.
An Atlanta business is finding itself in hot water with locals after painting over a tribute to late news reporter Jovita Moore.
Bellwood Coffee revealed that after purchasing a building in Grant Park, they painted over a mural dedicated to the beloved WSB-TV anchor, who died in 2021. The company took to Instagram to explain what happened with the mural and the steps they’re taking to correct it.
“If you’re not caught up, we leased a building in Grant Park, and painted over a mural of Jovita Moore,” the statement began. If you’re wanting to know why, we could give you a few practical reasons, none of which have anything to do with Jovita or her ATL legacy.”
It continued, “The truth is, the reasons aren’t good enough. We made a mistake and acted without enough consideration, and that is not reflective of the kind of people we want to be. For the 7 years that we have had this business, our heart has always been to build community in our city, yet this decision is driving us apart from many in our dear Atlanta community.”
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Moore, who had worked at WSB-TV since 1998, was diagnosed with glioblastoma, an aggressive brain cancer, in April 2021. She passed away in October 2021, barely seven months after her diagnosis.
The revelation that Bellhouse painted over her mural sent shockwaves through the community, sparking anger amid growing calls that Bellhouse was gentrifying the area.
“If you grew up in Atlanta/ been around a while you knew who Jovita Moore was and you know how the city responded when she died,” one X user wrote. “This coffee shop just moved into my neighborhood and painted over a mural dedicated to her for their signage and honestly it’s not sitting well w/ me.”
If you grew up in Atlanta/ been around a while you knew who Jovita Moore was and you know how the city responded when she died.

This coffee shop just moved into my neighborhood and painted over a mural dedicated to her for their signage and honestly it’s not sitting well w/ me
Bellhouse responded to the individual on April 30, stating they “truly had no idea how much this specific mural meant to the community of Atlanta” and suggested that the mural be painted over as the “windows in our buildout cut into the mural significantly.” The reasoning wasn’t enough to calm residents, so the statement was updated.
It is unclear when the new mural will be completed, but Bellwood heard loud and clear that certain things, even in a world that constantly changes, are to be considered permanent.

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May is here and Netflix is coming through with the goods. Check out what’s new and Black on Netflix this May inside. 
May is here and Netflix is coming through with the goods. If you have been looking for an excuse to stay in, cancel plans and plant yourself on the couch with a snack, consider this your official permission slip. Check out what’s new and Black on Netflix this May inside. 
Between brand new originals, beloved classics making their way back to the platform and a live event that the culture has genuinely been waiting on, this month’s Black content on Netflix is stacked in all the right places and across every genre you could want.
Let us talk about what the month is serving from top to bottom. Things kick off strong May 1 with not one but two titles that deserve your full attention. First, there is Den of Thieves, a high-octane crime thriller featuring a cast that is undeniably ours. Then, there is Green Book — the kind of film that earns its place on a watchlist every single time it cycles back around. 
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As Essence puts it, this month leans into variety without overcomplicating things, with comedy fans having plenty to tap into, lighter options for a more relaxed watch, and action and drama rounding out a lineup that offers something for every kind of viewer. 
Mid-month is where the energy shifts into a completely different gear. The Roast of Kevin Hart goes live May 10. If you know anything about how roasts work, you already know this is appointment television. Kevin Hart has spent his entire career making other people laugh, and watching the room turn on him in real time is the kind of event that has the group chat going absolutely feral before it even starts.
Then May 14, one of the most anticipated new series of the entire month drops. Nemesis comes from Power creator Courtney A. Kemp. If that name alone does not have you setting a reminder, you need to recalibrate your priorities immediately. Courtney built a television empire from scratch and she does not miss. 
Following that, on May 19th, Wanda Sykes steps onto the stage with a brand new stand-up special that promises to remind everyone why she has been one of the sharpest voices in comedy for three decades and counting. 
Netflix’s Tudum reports it will close out the entire month with something truly special. On May 31, the platform pays tribute to one of the greatest entertainers ever to grace a stage or screen. The streaming platform confirms that the AFI Life Achievement Award tribute to Eddie Murphy will be available to stream, giving the culture a proper send-off to a month that delivered in every way that mattered. Netflix is not playing around this month, and neither should you be when it comes to clearing your calendar for all of this.
May 1 — Den of Thieves: An elite LA County Sheriff’s unit tracks a seasoned robbery crew planning a high-risk Federal Reserve heist and starring Curtis “50 Cent” Jackson, O’Shea Jackson Jr., and Mo McRae.
May 1 — Green Book: Starring Mahershala Ali alongside Viggo Mortensen, this film follows a working-class bouncer who becomes the driver for a celebrated Black pianist on a tour through the segregated South in the 1960s, where the two form an unlikely connection.
May 1 — Hitch: Will Smith plays a New York “date doctor” whose playbook starts to fall apart when a sharp, no-nonsense columnist played by Eva Mendes enters his life and refuses to be impressed.
May 10 — The Roast of Kevin Hart (LIVE): Live at 8 PM ET on Netflix, comedians and celebrity guests take aim at Kevin Hart in a no-holds-barred roast delivering sharp jokes and personal jabs across a three-hour special.
May 14 — Nemesis: Y’lan Noel, Matthew Law, and Gabrielle Dennis lead this crime drama from Power creator Courtney A. Kemp, where a master thief and a determined detective circle each other in a high-stakes pursuit.
May 19 — Wanda Sykes: Legacy: In her latest stand-up special, Wanda Sykes takes the stage with sharp observations on aging, family dynamics, and politics, delivering the kind of humor that has kept her at the top of comedy for decades.
May 29 — Brazil ’70: The Third Star: This miniseries revisits Brazil’s 1970 World Cup run, recreating key plays and off-field moments from one of soccer’s most celebrated teams, offering a closer look at how that legacy was built.
May 31 — AFI Life Achievement Award: A Tribute to Eddie Murphy: A filmed ceremony celebrating Eddie Murphy’s career, featuring tributes, speeches, and appearances from peers across film and comedy.
Be sure to tune into Netflix this month to support these titles.
RELATED: 10 Best Martin Lawrence Movies Ranked
What’s Black On Netflix This May & The Lineup Is Exciting was originally published on globalgrind.com

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Rest In Power: Notable Black Folks Who We’ve Lost In 2026
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The ex-employee is making serious claims, and his legal team is already swinging back.
Legal issues are back in the mix for 50 Cent, this time involving a former employee who claims things went left behind the scenes.
As spotted on TMZ, Monique Mayers, a former employee of the G-Unit mogul, has filed a lawsuit accusing 50 Cent of retaliation and harassment. In the complaint, Mayers claims things went bad after she refused to follow certain alleged requests, including one where she says 50 pressured her to file a false police report accusing his driver and bodyguard of stealing his car and $600,000 in cash.
Mayers says she declined, and claims that decision put her in 50’s crosshairs. According to TMZ, she alleges 50 retaliated by firing her and also forced Forbes to retract a feature story about her. From there, Mayers claims she was subjected to a years-long intimidation campaign.
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50 Cent’s legal team is strongly denying the allegations. Fif’s attorney Reena Jain told TMZ they “categorically and strenuously deny the baseless allegations made in a recent civil complaint filed by Monique Mayers.” Jain also called Mayers a “disgruntled former employee who was terminated for cause over five years ago.”
Jain continued, “This lawsuit is nothing more than a transparent attempt to use the guise of a legal proceeding to seek an unjustified payday well outside of the applicable Statute of Limitations.”
She also pushed back on Mayers’ claims regarding alleged threats, telling TMZ, “Furthermore, [50 Cent] takes any and all threats to himself, his current and former employees, and any witnesses incredibly seriously. Contrary to the false narratives being peddled in this complaint, when these alleged threats were brought to light, Mr. Jackson’s legal counsel actively encouraged Ms. Mayers to go to the authorities. Moreover, Mr. Jackson’s counsel proactively reported these alleged threats to law enforcement as well to ensure they were thoroughly investigated.”
50 Cent, born Curtis Jackson, has built an empire across music, television, spirits and digital media, but this lawsuit puts him in a much more serious spotlight. Mayers’ claims have not been proven in court, and based on the response from 50’s side, his legal team is ready to fight the complaint hard.
50 has yet to address the matter publicly.
50 Cent Faces Lawsuit From Ex-Staffer Alleging Retaliation & Harassment was originally published on hiphopwired.com

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The “Fresh Prince” star says doctors ignored her birth plan and forced a traumatic delivery—an experience many Black women say is far too common.
Tatyana Ali is opening up about a childbirth experience she says was not only traumatic, but dangerously out of her control, adding her voice to a growing conversation about how Black women are treated in delivery rooms.
During a recent podcast appearance, the former “Fresh Prince of Bel-Air” star recalled what she described as an “incredibly dangerous” delivery while giving birth to her first child. According to Ali, medical staff disregarded her birth plan and made decisions without her consent, including physically pushing her baby back inside her body during labor.
“I remember saying no,” she shared, describing a moment where she felt her autonomy stripped away in the delivery room.
Ali also said she was physically restrained during the process; an experience she later came to understand as a form of what advocates call “obstetric violence,” a term used to describe the mistreatment of pregnant people during childbirth.
Her son was ultimately delivered safely, but not without complications. He was taken to the NICU shortly after birth, adding another layer of fear and uncertainty to an already distressing experience.
While Ali is now speaking publicly about what happened, her story reflects a much broader and deeply documented issue: Black women in the United States face significantly higher risks during pregnancy and childbirth than their white counterparts.
According to data from the Centers for Disease Control and Prevention, Black women are several times more likely to die from pregnancy-related causes, regardless of income or education level. Health experts say many of these outcomes are preventable and often linked to systemic bias, gaps in care, and a lack of respect for patient concerns.
Advocates have long pointed to stories like Ali’s as evidence of how quickly medical situations can escalate when patients are not heard or believed. For many Black women, the fear isn’t just about complications; it’s about whether their voices will be respected in critical moments.
Ali has used her platform to raise awareness about maternal health and the importance of patient advocacy, emphasizing the need for better communication, accountability, and care in medical settings.
Her story arrives at a time when conversations around Black maternal health are gaining more visibility, but outcomes have been slow to change. For many, her experience is not shocking—it’s familiar.
It’s that familiarity is exactly the problem.
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Former four-division champion Adrien Broner has become a cautionary tale about how not to turn out after becoming rich and famous.
Adrien Broner has always been one of boxing’s most naturally entertaining personalities, but the latest round of viral clips has people laughing a little less and side-eyeing a whole lot more. Over the last few days, Broner has been popping up on streams with DeenTheGreat — and the footage has been messy. One clip shows him clearly intoxicated as people around him try to stop him from driving. Another shows him getting rejected after trying to kiss a woman on stream. In addition to multiple confrontations, the 36-year-old was also caught on camera asking for Uber money.
That’s why the latest moments hit differently and are alarming. AB has always been a walking soundbite, but now the reactions are split between “this is hilarious” and “somebody needs to check on him.” World Boxing News noted that the conversation around the streams shifted from jokes to concern, with some observers questioning whether these appearances are helping Broner or just turning his real-life struggles into content.
And that concern makes sense when you remember who Broner was supposed to be. Coming out of Cincinnati, he became one of boxing’s brightest young stars, winning world titles across four weight classes and building a persona loud enough to make people tune in, whether they loved him or hated him. But the last decade has been a lot rougher. Losses to names like Marcos Maidana, Mikey Garcia, Manny Pacquiao, and most recently, Blair Cobbs changed the way people talked about his career. In the Cobbs fight, Broner lost by unanimous decision after being dropped in the second round, and his record fell to 35-5-1.
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Still, none of this is shocking in the sense that Broner has always been must-see TV. The man made post-fight interviews feel like skits, talked like he was cutting WWE promos, and turned even regular public appearances into viral moments. The difference now is that the comedy comes with a little sadness attached. What used to feel like AB being AB now sometimes feels like people watching a former champion spiral in real time. So with that in mind, here are Adrien Broner’s wildest crashout moments on screen — some funny, some chaotic, and some that got way darker than they probably felt in the moment.
This is probably the most classic AB clip ever. After a win, Broner coined one of boxing’s funniest self-given nicknames by saying people could call him the “Can Man” because “anybody can get it.” Africans, Americans, Dominicans, Mexicans. It was funny, ridiculous, and peak prime Broner confidence.
Broner had just beaten Vicente Escobedo in 2012 when he dropped to one knee like he was about to propose to his girlfriend. The crowd thought they were about to witness a romantic boxing moment. Instead, AB asked her to brush his hair. It was unserious, immature, hilarious, and exactly the kind of stunt that made him a viral star outside the ring.
After Broner beat Paulie Malignaggi in 2013, he didn’t just celebrate winning the WBA welterweight title. He got on the mic and said he left with Paulie’s belt and his girl. Paulie immediately stepped into the interview and the whole thing turned into reality TV with boxing gloves. This is one of those moments where AB’s trash talk completely overshadowed the actual fight.
The Marcos Maidana fight was supposed to be Broner’s superstar coronation, but it became one of the most humbling nights of his career. Early in the fight, Broner tried to clown Maidana by doing a humping motion in the ring. Later, after beating him up and dropping him, Maidana returned the gesture right back. This one went from “AB being funny” to “the joke is on you” real quick.
After Manny Pacquiao beat Broner by unanimous decision in 2019, Broner got in front of Jim Gray and insisted he won the fight. When Gray pushed back, AB started saying everybody in the hood knew he beat Pacquiao. The interview kept getting more awkward until Broner basically turned on Gray, too. It’s one of the most infamous post-fight interviews in modern boxing because the confidence and the scorecards were living in two different lives.
The Pacquiao interview got even wilder when Jim Gray brought up Broner’s recent record at the time. Instead of taking the criticism, Broner told Gary he would be “7-0” against him. Gray shut it down with a dry response and ended the interview. That exchange became its own meme because AB somehow lost the fight, the interview, and the argument on the same night.
In 2025, Broner appeared on Cam’Ron and Ma$e’s sports show and things got uncomfortable fast. He repeatedly made comments toward Treasure “Stat Baby” Wilson, even after Cam told him to chill. Eventually, Cam calmly told him he had to go and still paid him for his time. It was one of those moments where the internet applauded Cam for setting a boundary, while Broner once again became the headline for all the wrong reasons.
One of the recent clips that sparked concern shows DeenTheGreat and others trying to stop Broner from allegedly driving while intoxicated. Things got tense, with Broner going back and forth with Deen while the people around him tried to keep the situation from escalating. It’s the type of clip that might be funny for five seconds until you remember what the stakes are.
Another recent DeenTheGreat stream clip shows Broner trying to get a kiss from a woman, only to be rejected. The clip went viral because of how awkward the exchange looked, but it also contributed to the broader conversation about Broner’s behavior on stream. It was another “laughing but concerned” moment for people watching online.
Broner’s stream run also includes clips of him allegedly bullying and trying to fight Baby Alien. That one had people looking at the screen like “Bro, what are you doing?” It fits the crashout mold because it wasn’t just AB talking wild —it looked like a former champion using his size, name, and energy to press somebody who clearly wasn’t in the same lane.
This was one of the sadder recent clips. Broner, a four-division champion, was caught on stream asking DeenTheGreat’s cameraman to cover an Uber ride. On its own, that might not sound huge, but paired with the other stream clips, it became part of why fans started talking about his well-being instead of just clowning him.
During the same chaotic stream stretch, Adrien Broner shaved his beard in exchange for one of DeenTheGreat’s chains. That sounds like something somebody would make up, but it was indeed part of the stream chaos. It’s a wild visual because AB once moved like the flashy boss of “About Billions,” and now people were watching him barter his beard for jewelry on a livestream.
Back in 2016, Adrien Broner caught backlash after a video showed him throwing money at a Walmart cashier because he didn’t want his change. Floyd Mayweather even criticized him for it, saying the clip hurt to watch and that Broner was hurting himself. At the time, it looked like regular rich athlete flexing. In hindsight, with all the later money -related clips, it hits a lot differently.
Adrien Broner also once went viral for flushing $20 bills down the toilet. Again, back then it was supposed to be a stunt — “I’m rich, I don’t care, About Billion.” But this is one of those old clips people bring up whenever his current financial situation comes up. It went from flex to cautionary tale.
In 2023, Adrien Broner posted videos from a McDonald’s in which he was upset about his food and demanded to know who had cooked it. He walked in shirtless, berated employees, and threatened to fight kitchen staff before the situation was resolved without violence. It was another clip where some people laughed, but plenty of others said it felt more sad than funny.
RELATED: Michael Jordan & Charles Barkley Relationship Timeline
Adrien Broner’s Wildest Crash Out Moments On Screen was originally published on cassiuslife.com
COMMENTARY: 5 Reasons Why Obama Will Beat Romney
Rest In Power: Notable Black Folks Who We’ve Lost In 2026
The 30 Most Beautiful Black Women In Hollywood
Red Carpet Rundown: Coco Jones, La La Anthony, & Others Turn Heads At The ‘TIME 100’ Gala
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A page from one of the two photographic albums assembled by Gustave Coquiot after his May 1922 visit to Van Gogh sites in France
Van Gogh Academy, Auvers-sur-Oise (funded by Katie Sherborne). Photograph The Art Newspaper
Adventures with Van Gogh is a weekly blog by Martin Bailey, The Art Newspaper‘s long-standing correspondent and expert on the Dutch painter. Published on Fridays, stories range from newsy items about this most intriguing artist, to scholarly pieces based on meticulous investigations and discoveries. 
Explore all of Martin’s adventures with Van Gogh here.
© Martin Bailey
Two early photographic albums reveal many of the sites in France where Van Gogh painted, capturing places that were destroyed during the Second World War or by later modernisation. The images have been acquired by the recently established Van Gogh Academy, based in Auvers-sur-Oise, where they have just gone on display.
The photographs were taken by art critic Gustave Coquiot (1865-1926), who wrote one of the early biographies of the Dutchman, simply entitled Vincent van Gogh (1923). They are in albums interspersed with family photographs, mainly of Gustave’s wife Mauricia, a circus performer and feminist politician. Coquiot was famously painted by Pablo Picasso, who portrayed him with a troupe of scantily dressed dancers behind his head.
The albums have just been acquired for the Van Gogh Academy by its founder, Wouter van der Veen. In March 2023, a Paris auctioneer sold some Coquiot material, and Van der Veen later succeeded in contacting the vendor, who eventually agreed to sell further items, including the albums.
It is intriguing to compare Coquiot’s 1922 photographs of Arles with Van Gogh’s paintings 34 years earlier. They demonstrate how the artist was inspired by a landscape or subject, but would interpret them in a highly personal way.
Van Gogh’s The Yellow House (September 1888) and Coquiot’s photograph of the Yellow House (1922)
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) and Van Gogh Academy, Auvers
Coquiot’s view of the Yellow House, where Van Gogh lived for much of his time in Arles in 1888-89, suggests that it had become a shabby building by the early 1920s. Barely visible in the photograph is a notice reading “Chambres meublées à louer” (Furnished rooms to rent), just to the right of the front door.
It had been many years earlier that Van Gogh arranged for its exterior to be painted a cheery yellow. The artist then had his studio at the front of the ground floor, with the kitchen behind. Van Gogh’s bedroom was on the left side of the upper floor and fellow painter Paul Gauguin’s room was on the right. The Yellow House was severely damaged by Allied bombs in 1944 and then demolished. Coquiot’s photographs therefore provide valuable evidence about its original exterior.
Van Gogh’s View of Arles on the River Rhône (May 1888) and Coquiot’s photograph of the Rhône (1922)
Boijmans van Beuningen Museum, Rotterdam and Van Gogh Academy, Auvers
Just a few minutes’ walk away, across Place Lamartine, lies the River Rhône. It was from its bank that Van Gogh drew View of Arles on the River Rhône (May 1888), facing south, looking towards the centre of town. The view today remains relatively unchanged, with mainly low-rise buildings.
Van Gogh’s The Drawbridge (May 1888) and Coquiot’s photograph of the Langlois Bridge (1922)
Wallraf Richartz Museum & Fondation Corboud, Cologne and Van Gogh Academy, Auvers
One of Van Gogh’s favourite landscape motifs on the outskirts of Arles was the Langlois Bridge over the canal which runs to the Mediterranean. This drawbridge may well have reminded him of his native Netherlands. The Langlois Bridge was rebuilt around 1930; this replacement was blown up by retreating German forces in 1944.
Jules Armand’s Seated Arlesienne (1889) and Coquiot’s photograph of the Lion drug shop (1922)
© Cd13, Museon Arlaten-Musée de Provence, Arles and Van Gogh Academy, Auvers
The pharmacist and grocer Jules Armand, who sold artists’ supplies to Van Gogh, had his shop at 30 Rue du 4 Septembre, in the centre of Arles. In March 1888, a week after Vincent’s arrival in Arles, he told his brother Theo that he had been visited by “two amateur painters, one of whom is a grocer — and also sells painting materials”. Armand’s Seated Arlesienne (1889), which may have been painted while Van Gogh was still in town, suggests that he was considerably more talented than a mere amateur. Armand sometimes displayed paintings in his shop window, so one wonders whether he ever showed Van Gogh’s work.
Coquiot’s photograph of the shop was taken well after Armand’s death in 1909, but the window still bore the wording “peinture artistique” (artists’ materials). Coquiot met Armand’s widow Joséphine, who told him that Van Gogh had been “a very original man” but suspicious, and had not wanted to show his paintings to her husband. The building which had housed the Armand shop was also bombed in 1944.
Van Gogh’s Tarascon Stagecoach (October 1888) and Coquiot’s photograph of a stagecoach in Arles (1922)
Los Angeles County Museum of Art (gift of Henry and Rose Pearlman Foundation) and Van Gogh Academy, Auvers
Van Gogh had painted a stagecoach, which served the town of Tarascon, 20km to the north of Arles. Although such horse-drawn carriages were much less common by the 1920s, Coquiot came across one during his visit to Arles.
Van Gogh’s Fishing Boats on the Beach at Les Saintes-Maries-de-la-Mer (June 1888) and Coquiot’s photograph of fishing boats lined up on the same beach (1922)
Van Gogh Museum, Amsterdam (Vincent van Gogh Foundation) and Van Gogh Academy, Auvers
In the first week of June 1888, Van Gogh visited the Mediterranean for the first time, going to the fishing village of Saintes-Maries-de-la-Mer. He made the 40km journey by stagecoach. There he painted a seascape with colourful boats on the beach. Coquiot photographed a similar scene.
Van Gogh’s The Courtyard of the Hospital at Arles (April-May 1889) and Coquiot’s photograph of the courtyard garden (1922)
Oskar Reinhart Collection “Am Römerholz”, Winterthur and Van Gogh Academy, Auvers
In the evening of 23 December 1888, Van Gogh suffered a mental crisis and cut off most of his left ear. The following morning he was taken to the hospital of Arles, where he stayed for much of the time until his departure for the asylum at Saint-Rémy-de-Provence in May 1889.
At the Arles hospital he enjoyed the courtyard garden beneath the male ward, and once painted the scene. The courtyard was much the same by the time of Coquiot’s visit. In 1986, the hospital was closed and converted into a médiathèque. The courtyard was then replanted to make it appear as in Van Gogh’s painting.
Van Gogh’s Portrait of Dr Félix Rey (January 1889) and Coquiot’s photograph of Dr Rey (1922)
Pushkin State Museum of Fine Arts, Moscow and Van Gogh Academy, Auvers
The doctor who treated Van Gogh was the young intern Félix Rey, who would be immortalised in a portrait. When Coquiot met him over three decades later, Dr Rey had risen to run the medical services of Arles. The doctor showed him around the hospital and the courtyard garden. Coquiot recalled: “Of all those I saw in Arles who had known Vincent, it was Doctor Rey who had the most vivid memories.”
Exhibition of photographs by Coquiot, Van Gogh Academy, Auvers
The Art Newspaper
The display of Coquiot’s photographs is presented at the Van Gogh Academy, at 1 Rue François Mitterrand, Auvers-sur-Oise (open Fridays and Saturdays, 2pm-6pm, until 20 June).
Martin Bailey is a leading Van Gogh specialist and special correspondent for The Art Newspaper. He has curated exhibitions at the Barbican Art Gallery, Compton Verney/National Gallery of Scotland and Tate Britain.
Martin Bailey’s recent Van Gogh books
Martin has written a number of bestselling books on Van Gogh’s years in France: The Sunflowers Are Mine: The Story of Van Gogh’s Masterpiece (Frances Lincoln 2013, UK and US), Studio of the South: Van Gogh in Provence (Frances Lincoln 2016, UK and US), Starry Night: Van Gogh at the Asylum (White Lion Publishing 2018, UK and US) and Van Gogh’s Finale: Auvers and the Artist’s Rise to Fame (Frances Lincoln 2021, UK and US). The Sunflowers are Mine (2024, UK and US) and Van Gogh’s Finale (2024, UK and US) are also now available in a more compact paperback format.
His other recent books include Living with Vincent van Gogh: The Homes & Landscapes that shaped the Artist (White Lion Publishing 2019, UK and US), which provides an overview of the artist’s life. The Illustrated Provence Letters of Van Gogh has been reissued (Batsford 2021, UK and US). My Friend Van Gogh/Emile Bernard provides the first English translation of Bernard’s writings on Van Gogh (David Zwirner Books 2023, UKand US).
To contact Martin Bailey, please email vangogh@theartnewspaper.com
Please note that he does not undertake authentications.
Explore all of Martin’s adventures with Van Gogh here

Vincent’s sunny abode had a spare bedroom, awaiting Gauguin’s arrival
Vincent described his friend as having “a big, bearded face, very Socratic”
But did Vincent really wear a hat fringed with candles when he was working?
Before the artist’s former home was bombed in the war, two little-known paintings in the 1930s depicted its exterior in an unexpected colour

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The franchise, which launched in 2011, has given viewers plenty of memes, viral moments, discussion points and more.
For years, “Love & Hip Hop” dominated VH1 airwaves with its rotating cast of stars, drama and more. The series gave fans memorable memes and elevated the early careers of Cardi B and Joseline Hernandez.
Now the franchise, which began in 2011 with a focus on New York, is coming to an end.
On Friday, Paramount announced that “Love & Hip Hop” was ending in a press release, while announcing that it would be celebrated with a six-part special to be released later this fall titled “Love & Hip Hop: The Final Chapter.”
“Love & Hip Hop: The Final Chapter explores the rise of its breakout stars, the business empires they built, the headlines that dominated the conversation, and the franchise’s lasting cultural impact,” the press release read.
“Featuring new interviews with cast members from every city – New York, Atlanta, Hollywood, and Miami – alongside the producers and executives who brought the franchise to life, as well as journalists and cultural critics who have followed its evolution from the beginning, the series offers a comprehensive look at the phenomenon that reshaped reality television and left an undeniable mark on the culture.”
It is worth noting that two of the franchise’s series, “Love & Hip Hop: Atlanta” and “Love & Hip Hop: Miami,” will continue airing their current seasons on Tuesdays on MTV and Wednesdays on BET. The Miami franchise had its midseason premiere on April 8 and will likely wrap up before “Love & Hip Hop: The Final Chapter” airs.
“The ‘Love & Hip Hop’ franchise has always been about the people,” Lashan Browning, who serves as executive producer of “The Final Chapter,” said in a statement. “The incredible talent who trusted us with their real lives, the exceptional producers who poured themselves into every storyline, my extraordinary team at Antoinette Media who showed up and showed out season after season, and the viewers who were here for all of it. Their dedication is why this franchise resonated for so many years. As we step into this final chapter, we’re making sure our ending hits like it should, for our talent in front of and behind the camera, and for every fan who’s been rocking with us from day one. Once more for the culture.”
With LHH ending, so does an era of reality television on VH1. Earlier this year, Shaunie Henderson announced that “Basketball Wives,” which premiered in 2010, would also not return.
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Starz greenlights a new Black rodeo drama set in Texas as the network ramps up efforts to own original content and expand its programming slate.
Starz has officially greenlit a new drama series set in the world of Black rodeo, marking another step in the network’s strategy to produce and fully own more of its original programming, according to Deadline.
The untitled series will be an eight-episode family drama set in Southeast Texas, where rodeo culture plays a central role in community identity. According to the network, the story follows three siblings navigating personal ambitions, family legacy, and unresolved tensions tied to their parents’ past. The project blends elements of modern storytelling with what executives describe as “hip-hop swagger and country soul.”
The show is led by Kirk A. Moore, known for his work on “Demascus,” who will serve as show-runner and executive producer. He is joined by executive producer Mark Johnson, known for projects like “Breaking Bad,” as well as production teams from Gran Via and Counterpart Studios.
This new series represents Starz’s continued shift toward owning its content library, a strategy that has gained momentum following its corporate separation from Lionsgate. Network leadership has emphasized that controlling intellectual property allows for long-term cost savings and greater flexibility in distribution.
Starz CEO Jeff Hirsch has previously stated that the company aims to own roughly half of its programming slate by 2027. The Black rodeo drama follows the network’s earlier fully owned project, “Fightland,” a British boxing series executive produced by Curtis “50 Cent‘”Jackson.
Kathryn Busby, President of Original Programming at Starz, said the series reflects the kind of bold storytelling the network wants to champion. She highlighted its mix of family conflict, cultural depth, and regional authenticity, noting that the setting offers a perspective rarely seen on television.
Production details, including casting and release date, have not yet been announced. However, the project signals a continued investment in diverse narratives and underrepresented communities within mainstream television.
As competition intensifies across streaming and cable platforms, Starz’s focus on owning original content could play a key role in shaping its long-term growth and identity.
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South Carolina State University now faces defunding by state legislators to punish the HBCU for successfully protesting a commencement speech from anti-DEI Lieutenant Governor Pamela Evette. The malicious MAGA is so determined to berate these students on their big day that her canceled appearance is now the pretense to destroy the school she claims to have supported more than anyone else. This is yet another instance where free speech has a steep price when folks don’t want to hear it.
University President Alexander Conyers cited concerns for the safety of students, faculty, and guests as a reason to pivot from anything that takes focus away from the ceremony. He invited anyone in the nation to come to the campus for a productive conversation, regardless of their differences with the rest of the community, but agreed graduation isn’t the time for that.
Despite the open-minded concession, Evette went full Karen to make herself the victim rather than the one threatening the safe environment for students. WACH reports that she refused to apologize for demeaning students as a “woke mob” and implying it takes a conspiracy for them to object to her speech, which she agreed to in December.
“I was pro-Trump in December. I was anti-DEI in December. Nothing has changed. So I think what you should be asking are the leaders on that college campus, what had changed?” she asked.
“Since when is it okay for groups to come together and cite security concerns to have violence play a part in silencing voices? That is not what our country is about,” she said, ignoring centuries of U.S. history.
Read how Lt. Gov. Evette’s Karen commotion is now endangering the future of South Carolina State University after the jump!
Those weaponized tears worked like a charm!
State legislators spotted that all-too-familiar “feared for my life” justification to perpetuate the real violence by defunding South Carolina’s only HBCU. Nine members of the House of Representatives sent a letter to Chairman of the House Ways and Means Committee Representative Bruce Bannister to request that SC State receives no funding in a new draft of the state budget.
“There is no reason why state tax dollars should continue to fund a state institution where not all South Carolinians are welcome. If the Lt. Governor of South Carolina is unwelcome due to different political ideologies and an inability to keep her safe, it is time to defund and reevaluate,” the letter stated, flipping the narrative to serve the same anti-Black agenda that made Evette unfit and unwanted as the school’s graduation in the first place.
Representatives Gil Gatch, Thomas Beach, Jackie Terribile, Sarita Edgerton, Josiah Magnuson, John McCravy, Melissa Oremus, and Cally Forrest Jr. endorsed the call to hold SC State’s funds hostage, WSPA reports.
As BOSSIP previously reported, university leadership announced Evette’s Orangeburg ouster on Wednesday, April 29, after days of student protests and community backlash. Marches, sit-ins, and social media campaigns went viral as soon as the gubernatorial candidate’s keynote was announced. A petition against her speech racked up more than 20,000 signatures, citing her political stances and campaign affiliations that are essentially antithetical to celebrating HBCU excellence.
She doubled down by mysteriously claiming “President Trump, the governor and I have done more for Historically Black Colleges and Universities than anybody in the history of the state or the country,” and in the next breath stating that those students “don’t know the facts” because professors are “indoctrinating” them. According to WSPA, she added, “I must be doing something right because ‘woke mobs’ are coming after me like a champion of eliminating radical DEI scams on college campuses, so bring it on.”
They did, and now she can’t take it.
It’s hard to tell whether Evette wanted to use this momentous occasion for the students as a photo op to debunk allegations of racism on the campaign trail or if the plan all along was to incite a predictable protest to justify destroying the historic university as we know it. She has succeeded in overshadowing the very people she’s demanding to “honor” with her presence and will seemingly make them one of the last graduating classes as a consolation prize.
In addition to the state’s threat to defund, Evette’s calling for an end to tenure that could mean open season on all professors who don’t teach MAGA misinformation to their liking.
It’s fascinating that imposing diversity is a right when it comes to spewing talking points for Evette’s midterm race, but not when students demand better for a moment that should center and celebrate them. If that’s not a DEI scam, what is?
Mind you, Evette is a sore winner whose party dictated the last South Carolina congressional map, which they now claim they need to “fix,” by eliminating the only Black representative and district, Rep. Jim Clyburn’s 6th District.
The SC State commencement controversy captured national attention, but clearly, South Carolina’s Black communities face much greater risks than a shameful speaker at an upcoming graduation. Everything from the HBCU’s future, to fair representation for the Black voters who make up more than 25% of the state, is now in danger.

Legislators Threaten To Defund SC State As Lt. Gov. Pamela Evette Doubles Down On Dissing HBCU Over Canceled Commencement Speech was originally published on bossip.com

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Six members of the Supreme Court voted that the tariffs imposed by US president Donald Trump were unconstitutional, as setting rates of taxation is a congressional power UPI/Alamy Live News
In the US and elsewhere, it had been hoped that the Supreme Court’s decision on 20 February striking down President Donald Trump’s unilateral tariffs as unconstitutional might bring some clarity to international trade, specifically the question of what, if any, duties might be applied to imports. The court’s ruling found that the tariffs Trump had imposed under an emergency powers law were unconstitutional, including the sweeping “reciprocal” tariffs he levied on nearly every country. The tariffs were found by six members of the Supreme Court to be unconstitutional, since the power of taxation and to unilaterally set and change tariffs belongs to Congress and not the president.
Any clarity gained was quickly dispelled by Trump’s decision that same day to impose tariffs of up to 15% under a different emergency powers law on goods from all other countries. Unlike the earlier tariffs, these new levies only last for 150 days unless they are extended by Congress. Just as his earlier tariffs were challenged in the courts, the new regime was quickly met with lawsuits from attorneys general in 22 states, as well as the governors of Kentucky and Pennsylvania. Adding to the confusion is a 4 March ruling by a federal judge in New York that companies that had paid tariffs struck down by the Supreme Court are due refunds.
To Pierre Valentin, the former in-house legal counsel at Sotheby’s in the mid-1990s and currently a London-based lawyer specialising in art law, “everything is on fire, or at least that’s how it feels whenever Washington starts talking about tariffs. Markets begin to sway like nervous tightrope walkers.”
Others are attempting to see just how taut that tightrope is. Millicent Creech, an antiques dealer in Memphis, Tennessee—home to the global headquarters of FedEx, one of the companies suing the federal government for tariff payments it had made—says: “When I heard the Supreme Court’s ruling, I, as many others, let go almost a year’s tension and regained hopes for the future and my ability to survive as a dealer, and to restock. By 5pm, those hopes were dashed by the alternate method of collecting 10% tariffs, which quickly turned into 15%.”
Adding to Creech’s worries is uncertainty about whether or not the tariff exemption for antiques over 100 years old will remain in place and “if the courts will be effective in enforcing their rulings”, which has not always been the case during the second Trump presidency. One solution, which the New York-based antiques dealer Clinton Howell now relies on, is to only source material that is already in the US, “so I haven’t had to deal with all this”, he says. But for Creech, “there is not enough of the quality, condition and uniqueness of what I seek in the US”, requiring her to source materials in the UK.
A recent example of Creech’s exasperation was her attempt to purchase an 18th-century British chair in the UK, which the seller was offering “at lunch-money level. But when I tried to get shipping estimates, the first two shippers I contacted are not shipping furniture now.” The third shipper “gave me a quote for £1,000 for a single side chair that is estimated under £200. And that is before possible tariffs and the add-ons that FedEx always has. The profit would be gone in shipping alone.”
Steven J. Chait, the president of New York’s Ralph M. Chait Galleries, which sells antique Asian ceramics and carved wood objects, describes his approach to the present moment as to wait and see. “We haven’t brought anything in from abroad yet, and I’m not clear on what the adjusted rate will be,” he says. “I have heard mixed opinions that China is in a different category but, hopefully, the tariff amount for antiques and works of art will go down to 10% or 15% rather than the high 20s. But it will not be zero, at least to my knowledge.”
In January, the trade group to which Chait belongs, the National Antique and Art Dealers Association of America, held a meeting where the topic of tariffs was central; it expects to develop an advocacy strategy “as things clarify in the next few months”.
The art trade is also dealing with another new expense: fuel surcharges for shipping and trucking that are a by-product of the joint US and Israeli war on Iran that has led to the rapid increase in fuel costs.
Both laws cited by Trump to authorise tariffs contain exemptions, particularly for “informational materials”, a category that includes most forms of fine art, rare coins, stamps, scientific and antiquarian collectables, and antiques exceeding 100 years. But decorative art objects—including antique furniture and other collectable items—are not exempt from either set of tariffs. That has affected the price and movement of these types of objects, says Nicholas O’Donnell, a partner in the art law practice at the Boston-based firm of Sullivan & Worcester. “Many dealers made the decision not to sell things in the US.” That has also impacted the prices for objects, he says, suggesting that “sellers are absorbing the costs of the tariffs and passing them on to buyers”.
While the blanket 15% tariffs remain burdensome, “it does mitigate some uncertainties”, O’Donnell says. “Fifteen percent is a number, after all, and you can plan around it.”
The antiques trade and lower- to mid-tier sectors of the art market are waiting for the situation to stabilise, while the most deep-pocketed collectors continue to transact
There is widespread confusion about whether or not new US tariffs—and those imposed by trading partners in retaliation—apply to art and antiques
Auction houses and art dealers express ‘relief’ even as the US-China trade war escalates

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LeBron James retirement plans center on family time with Savannah and his kids after decades of sacrifice.
LeBron James is still not done playing basketball, but he already knows exactly what retirement looks like. As TheGrio previously reported, LeBron got emotional during what could be his final game in Cleveland earlier this year, and the question of his retirement plans has been building all season. Now, in a wide-ranging interview with ESPN’s Dave McMenamin published Tuesday, the 41-year-old Lakers star made it plain: when the game is over, his family comes first.
James opened up about how much he has missed being present for his wife, Savannah, and their children during his 23 seasons in the league.
“My wife is going to get a lot of f—g time because I’ve had to sacrifice not being with my wife a lot because I wanted to be the greatest player that ever played this game,” James said. “My daughter, I’m going to spend a lot of time with her because I spent the first 11 years of her life — or 12, whenever this s—t is over, 13 — being away from her.”
He didn’t stop there, the basketball legend made it clear the LeBron James retirement plans extend beyond just family time. He wants time for himself too.
“My family deserves all my time. And then, me. I deserve my time, too. Because I’ve dedicated to this sport for so long that I’ll be happy as f—k when it’s all done to get the f—k away and give myself some grace,” he added.
James and wife Savannah have sons Bronny and Bryce and daughter Zhuri, and he has spoken openly about the personal cost of chasing greatness at the highest level for over two decades. Despite being 41, he remains one of the most athletic players on any court he steps onto. The Lakers are currently in playoff contention, and James has shown no signs of a physical decline that would force his hand.
Still, when the moment comes, it sounds like Savannah already has a long list of his time waiting to be collected.

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May 1, 2026
The event takes place May 1 at the school’s John L. Tishman Auditorium in New York City
The New School Studio Orchestra (NSSO) and the Motor City Groove Ensemble are presenting “A Motown Spectacular!” featuring music by several legends from the historic record label.
The event takes place May 1 at the school’s John L. Tishman Auditorium in New York City, where Keller Coker will conduct the musical special with students from the School of Jazz and Contemporary Music and Mannes School of Music. Presented by the College of Performing Arts at The New School, the event is free for registrants on the school’s website. For those who are not in the city or can’t attend in person, a livestream will be available online for free. The performance starts at 7:30 p.m.
The Motor City Ensemble will recreate the sounds of the Motown (short for Motor Town, which, at the time, was home to American automakers, Ford, General Motors, and Chrysler) era, which exploded during the 1960s and early 1970s, from Detroit, where the label’s founder, Berry Gordy, brought the Motown sound to life, starting an important era in Black music.
The musicians will be playing music from the Temptations, The Four Tops, Marvin Gaye, Martha and the Vandellas, the Supremes, and more.
The record label celebrated its 67th anniversary last month. Gordy started Motown on April 14, 1959, at the Hitsville USA recording studio, where the artists recorded. At the label’s peak, they had a hit ratio of almost 75%, when most labels were around 10%. By the end of the 1960s, Motown was the largest Black-owned enterprise in the United States, grossing $20 million annually by 1966 (equivalent to over $190 million today).
The label was also home to Stevie Wonder, The Jackson 5, Smokey Robinson and the Miracles, Lionel Richie, The Commodores, Rick James, Gladys Knight and the Pips, Kem, Vince Staples, and many more. Motown was also home to successful songwriters who shaped the label’s sound, Holland-Dozier-Holland, Ashford and Simpson, and Norman Whitfield, to name a few.
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This weekend is packed with options for every film lover. Check out our weekend watch list for the entire family inside. 
This weekend is packed with options for every film lover. From nostalgic action to buzzy new series and big screen moments, the lineup proves there is no shortage of content to get into. Whether you are staying in or planning a theater run, consider this your go-to guide for what to press play on next. Check out our weekend watch list inside. 
The current streaming wave is all about balance. Viewers are revisiting classics while also tapping into fresh, conversation-starting releases. Translation: your weekend can be as chill or as chaotic as you want it to be.
Documentary series like Hulu’s The Cult of Natureboy will have you glued to your couch. Meanwhile, something like Hoppers can be a great watch for the entire family. If you are a consistent viewer and have been following this Starz series for awhile, then you know Outlander Season 8 is where you’ll want to be.
Scroll down to see what is worth watching this weekend. 
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Man on Fire (Netflix)
A throwback that still hits. Denzel Washington delivers one of his most intense performances in this action drama about vengeance and redemption.
Cult of Natureboy (Hulu)
This docuseries dives into the controversial world of spiritual influencer Natureboy. It is unsettling, fascinating, and definitely a conversation starter.
Hoppers (Prime Video)
A newer entry that blends comedy and chaos, following a group navigating unpredictable life turns with humor and heart.
Apex (Netflix)
High stakes and survival energy define this thriller, where danger lurks at every turn and trust is not guaranteed.
Michael (In theaters)
The King of Pop’s story continues to dominate. Michael is pulling major numbers and sparking debate, making it a must-watch cultural moment.
Rooster (HBO)
A gritty drama that leans into layered storytelling and complex characters. Perfect if you want something a little heavier.
Outlander Season 8 (Starz)
Outlander returns with more romance, time travel, and emotional twists. Fans already know the vibes.
The Bad Guys: The Series Season 2 (Netflix)
Animated fun with a mischievous edge. This is an easy, entertaining pick whether you are watching solo or with family.
Margo’s Got Money Troubles (Apple TV+)
A sharp comedy drama about motherhood, money, and making bold choices. It is already gaining buzz for its relatable storytelling.
You, Me & Tuscany (In theaters)
Romance meets escapism with beautiful scenery and heartfelt tension. Date night approved.
The Devil Wears Prada 2 (In theaters May 1)
The Devil Wears Prada 2 is bringing fashion back to the big screen with a fresh take on a beloved classic.
The Boys (Prime Video)
The Boys continues to push boundaries with its wild take on superheroes and power.
No matter your vibe, this weekend is stacked. So, what are you watching first? Comment below.
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Weekend Watch List: From Cult Docuseries To Box Office Hits, TV Shows & Films For The Entire Family was originally published on globalgrind.com

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If you’ve ever searched “Chris Brown best music videos,” “Chris Brown dancing videos,” or “top Chris Brown visuals,” this list breaks down the ones that truly stand out. Here are 15 of the bes…
When it comes to performance, visuals, and pure entertainment, Chris Brown is in a league of his own. From high-level choreography to cinematic storytelling, his music videos have helped define multiple eras of R&B and pop.
If you’ve ever searched “Chris Brown best music videos,” “Chris Brown dancing videos,” or “top Chris Brown visuals,” this list breaks down the ones that truly stand out.
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Here are 15 of the best Chris Brown music videos of all time:
The one that started it all. A young Chris Brown introduced himself with elite choreography and star power from day one.
Smooth, clean, and classic. This video helped establish his R&B heartthrob image early in his career.
One of his most underrated dance-heavy visuals. Pure performance and energy.
A simple but iconic visual. Walking through the city, connecting with fans, and showing his softer side.
This video went viral before “viral” was even a thing. The wedding dance moment made it a cultural staple.
Minimalist, but powerful. Focused entirely on choreography and stage presence.
High-energy, fast cuts, and unforgettable performances especially from Busta.
Bright colors, big choreography, and feel-good energy. One of his most global pop moments.
One of his most creative visuals ever. Masks, dance battles, and next-level production.
A fan favorite. Storytelling meets choreography in a Michael Jackson-inspired visual.
A deeper, more cinematic concept that shows his ability to tell emotional stories through visuals.
12. “New Flame” ft. Usher & Rick Ross
Three heavy hitters, clean choreography, and a sleek all-white aesthetic.
Fun, colorful, and West Coast energy throughout. A party visual that matched the song perfectly.
One of his most viral dance videos in recent years. The choreography alone carried this one across social media.
A newer-era standout. Smooth visuals, lighting, and vibe-driven storytelling that connected with a whole new audience.
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Whether you’ve been rocking with Chris Brown since “Run It!” or just tapped in during his newer era, one thing is undeniable, his music videos have set the standard for performance and creativity.
From viral dance moments to cinematic storytelling, these visuals continue to influence artists and keep fans coming back every time he drops.
Now we want to hear from you, what’s your favorite Chris Brown music video of all time? Let us know and keep it locked right here with Hot 100.9 for more music, culture, and throwbacks you don’t want to miss.
Chris Brown’s music videos aren’t just visuals, they’re performances, moments, and cultural resets. Whether it’s choreography, storytelling, or just pure charisma, he continues to raise the bar every time he drops.
From “Run It!” to “Under the Influence,” one thing is clear: Chris Brown doesn’t just make music videos, he creates experiences.
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RELATED: 25 Chris Brown and Usher Setlist Predictions for R&B Tour

15 Best Chris Brown Music Videos of All Time was originally published on hot1009.com

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Anton Janizewski is showing works by Jiyoon Chung in the inaugural Perspectives section of Gallery Weekend Berlin
Courtesy of the artist and Anton Janizewski; © Brian Kure
In an industry enamoured by novelty and uncertain of its future, even the foolproof formulas must be updated. This year Gallery Weekend Berlin (GWB, 1-3 May), which sees the city’s top galleries open ambitious shows on the same weekend, grows from 50 to 57 participants, thanks to a new section.
Perspectives is a rotating selection of smaller, mostly young galleries that have not yet taken part in the event. These range from closely watched Anton Janizewski, which is showing sculptures by Jiyoon Chung cast from bottles of celebrity-endorsed tequila brands, to Persons Projects, which is presenting a duo show of abstract paintings and photography by Karl Benjamin and Grey Crawford.
Since its launch in 2005 with 21 dealers hoping to attract international collectors to a city teeming with artists but scarce of local buyers, GWB has grown into what is typically regarded by its participants as their best sales week outside of an art fair. Its popularity, and the mushrooming art scene of late 2000s Berlin, saw it grow to 40 galleries, and then to 50, around where it has hovered since.
The model is successful, having been copied dozens of times from London to Warsaw, but is not without fault. For those only consulting the GWB map, they might question whether Berlin’s commercial art scene stopped growing after 2015. Of the galleries regularly taking part, just four—Noah Klink, Sweetwater, Schiefe Zähne and Molitor—were founded in the past decade.
Unlike an art fair, galleries do not apply. Rather, they are invited to join through a selection committee, and the list of exhibitors stays “more or less the same year after year”, says GWB’s director Antonia Ruder. Accusations of elitism and obfuscation have previously been levelled at the selection process, but “space is a key issue”, Ruder says. “We have to ensure that someone could feasibly visit all the galleries over a weekend, and ensure a certain quality of exhibition.”
Perspectives gallery Mountains is showing Shinoh Nam
Courtesy of the artist
Perspectives addresses this issue, while providing a gentler entryway for emerging dealers; those galleries pay 50% of the usual €9,000 participation fee, with the discount funded by the Berlin Senate. Ruder acknowledges the challenges facing galleries: “Prices for everything are going up while sales are not.”
“Perspectives is a long overdue and welcome step in the right direction,” says Markus Summerer, the co-founder of Mountains, which opened in 2019 a few months before the pandemic. For Perspectives, it is showing sculptures and wall-based works by the South Korean artist Shinoh Nam. Described in an accompanying text as “architectural fragments”, they range from slices of wooden doors to sculptures in hand-worked steel, burnt wood and glass (priced €2,000-€16,000).
Summerer now hopes that the Perspectives initiative can go even further. “Perhaps the idea of ‘rotation’ could be applied more to the main sector, rather than primarily to the younger galleries,” he suggests.
Indeed, while most of the Perspectives galleries are young, some have professionalised quickly, through taking part in art fairs and developing an international and multi-generational roster. (Mountain’s programme also includes the late Filipino artist and activist David Medalla). “Twenty years ago, Berlin offered a much lower barrier to entry, financially and structurally,” Summerer says. “Today, it seems the challenges are more complex. Young galleries need to be both financially resilient and strategically agile. At the same time, expectations—from artists, collectors and institutions—have become more global from the outset.”
The decision for GWB to introduce a crop of new, ambitious dealers reflects not just a shifting local gallery scene but a city, too. The promises of bohemian Berlin—super-cheap rents and uncensored expression—have, in recent years, vanished or been proven false, turning the stream of artists flocking to the city into a slow trickle. Add recent arts funding cuts and two culture minister resignations in as many years, and the city is facing something of an identity crisis.
Mark Barker’s Untitled (2025), at Shahin Zarinbal
Photo: Eric Tschernow; dourtesy the artist, Shahin Zarinbal, Berlin
“It feels like everything is being reshuffled,” says Shahin Zarinbal, whose eponymous gallery will present photography, charcoal drawings, watercolours and a large painting by Mark Barker, “each referencing bodily functions and forms of enclosure” (€2,500-€18,000).
The arrival of Perspectives in this febrile context is a smart move. The news is even embraced by former detractors of GWB such as the gallerist Christian Siekmeier, who described the event as a “protectorate” in a 2018 interview to Artnet News. He welcomes the section as “a great decision to open up the event”.
If certain realities of Berlin have been dispelled in recent years, it seems that new ones are forming in their place. In January, the inaugural, celebrity-studded Hamburger Bahnhof fundraising gala marked a watershed moment for the private philanthropy landscape of a city where, not so long ago, being openly rich was considered unfashionable.
Attempts to galvanise the influx of wealth flowing to the city are under way. Ruder notes that “Chinese and Canadian collectors are buying up second homes in Berlin. And there is a lot of new tech wealth in this city. We know there are people out there interested in supporting the arts.” Still, their influence is not yet being felt across all levels. “We can’t see a bigger local collecting base,” Summerer says. “Our collectors are from everywhere.”
Meanwhile, others warn against romanticising the Berlin of years past. Siekmeier moved his gallery Exile from Berlin to Vienna in 2018, noting that in Berlin at the time “there was extremely little institutional engagement, just a few ego-driven collectors. You had to have affluence beyond ends to make it work”.
As for those existential Berlin questions, Zarinbal encourages perspective: “It’s a struggle, but galleries are feeling it at all levels.” And as many a Berliner will tell you, the city has long been in flux. “We benefit in many ways from not having as clear an identity as Paris or London,” Zarinbal says. “Everything is open to debate; it’s a productive friction.”
From a gallery floor-turned-treadmill at Alexander Levy to Aztec inspiration at Barbara Wien
Galleries such as Molitor have their debut and mega gallery Pace hosts a pop up, while others present shows in brand-new locations

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