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  Albert Pinkham Ryder, Pegasus Departing, by 1901. Oil on canvas mounted on fiberboard, 14 1/4 x 17 1/4 inches. Smithsonian American Art Museum, Gift of John Gellatly. Jackson Pollock, T.P.’s Boat in Menemsha Pond, ca. 1934. Oil on tin, 4 5/8 x 6 3/8 inches. The New Britain Museum of Art. © 2021 The Pollock-Krasner Foundation / Artists Rights Society (ARS), New York An over view on YouTube Ryder was a prophetic visionary, seeing and representing the world in a way that diverged from everyone else. To many, he is considered the father of American modernism, and perhaps, the most influential American artist in America. Jackson Pollock famously proclaimed in 1944 that “the only American master who interests me is Ryder.” A Wild Note of Longing   brings together Ryder’s most iconic paintings, including exceptional examples from the Smithsonian American Art Museum, such as  Flying Dutchman ,  Jonah , and  Pegasus Departing . Also included are Ryder paintings from the Brooklyn M

Princeton University Press Author :  Dieter Buchhart An exploration of the personal and artistic connections between two icons of twentieth-century art Keith Haring (1958–1990) and Jean-Michel Basquiat (1960–1988) changed the art world of the 1980s through their idiosyncratic imagery, radical ideas, and complex sociopolitical commentary. Each artist invented a distinct visual language, employing signs, symbols, and words to convey strong messages in unconventional ways, and each left an indelible legacy that remains a force in contemporary visual and popular culture. Offering fascinating new insights into the artists’ work,  Keith Haring | Jean-Michel Basquiat  reveals the many intersections among Haring and Basquiat’s lives, ideas, and practices. This lavishly illustrated volume brings together more than two hundred images—works created in public spaces, paintings, sculptures, objects, works on paper, photographs, and more. These rich visuals are accompanied by essays and inter

  Helen Frankenthaler, Madame Butterfly (detail) 2000 and Tales of Genji III (detail), 1998 © 2020 Helen Frankenthaler Foundation, Inc. / DACS / Tyler Graphic Ltd., Mount Kisco, NY Through April 18, 2022, the UK's Dulwich Picture Gallery brings together a major exhibition of woodcuts by the leading Abstract Expressionist, Helen Frankenthaler (American, 1928-2011). Shining a light on her groundbreaking woodcuts,  Helen Frankenthaler: Radical Beauty  showcases the artist as a creative force and a trailblazer of printmaking, who endlessly pushed the possibilities of the medium. Ranging from Frankenthaler’s first ever woodcut in 1973, to her last work published in 2009, this major print retrospective brings together 30 works on loan from the Helen Frankenthaler Foundation, including   Madame Butterfly   (2000) and   East and Beyond   (1973) to reveal the enormous diversity in scale and technique in her oeuvre. Challenging traditional notions of woodcut printmaking, the exhibition

Krannert Art Museum Albrecht Dürer, Christ Carrying the Cross (detail), 1512. Engraving on paper. Museum Purchase through The Champion & Partners Acquisition Prize in Honour of Richard Hamilton 2017-28-1 (  A   Krannert Art Museum exhibition of prints depicting sacred and supernatural imagery will showcase Early Modern treasures from across campus, including the growing collection of historical European prints in KAM’s collection. “ Sacred/Supernatural: Religion, Myth, and Magic in European Prints, 1450-1900 ” is on view Jan. 27-May 15. The 44 prints in the exhibition portray Christian imagery; devils, demons and monsters; and mythological subjects. The works are from the museum’s collection, including a half dozen new acquisitions that have never been shown at KAM; loans from the  Rare Book and Manuscript Library ,  Spurlock Museum of World Cultures  and  Ricker Library of Architecture and Art ; and loans from a private collector. “This exhibition is a great way to sho

I’ve been disappointed recently. Bigly.   I know GBNews is a breath of fresh air. Big sigh. Tell me what antidote to the currently biased MSM wouldn’t be? I’m aware that Andrew Neil was so disgruntled with what he described as ‘UK’s Fox News’ that he got on his hobby horse and rode off in all directions - for example to Channel 4., and apparently also back to the Beeb. However, nothing and no one is ever perfect, and as an alternative to the BBC, GBNews isn’t completely doing it for me. I still enjoy watching much of it, but regret that it has to be in a ‘best of a bad job’ kind of way. 'Least worst'. If you’ll allow me to use the label ‘left-wing’ pejoratively, well, the BBC is so blinded by its own institutional bias it’s hard to see how it could be fixed. Personally, I don’t necessarily see the label ‘left-wing’ as an insult, but I’m using it as such here for convenience. Know what I mean, ‘Arry?   (I wonder what happened to Frank Bruno. Oops! I fear he’s been s

The closing paragraph of Zoe Strimpel's Telegraph post today is worth quoting: The BBC’s problem with Jews goes back several generations, and, as with Corbyn’s Labour, the reason lies in the slow but sure percolation of the most toxic parts of left-wing culture of the 1970s. Only when the BBC confronts its anti-Israel bias will it find that it makes fewer slips in its handling of Jews.

As regular readers will know, the BBC News Channel has a new programme in the evening called Context. I'm guessing what follows won't be in its remit... On hearing this morning's Sunday and reading the headline story about it  on the BBC News website - which is as much as I've engaged with the BBC so far today - the following tweet strikes a chord: Inspector Gadget : Today, the media will not inform the public that between March 1971 and 30th January 1972, republican terrorists in Northern Ireland murdered 52 British soldiers. Hypervigilance was a consequence, and once again, their own population paid the price. #context I think that should at least be acknowledged by the likes of the BBC. 

This looks like an interesting encounter - Peter Hitchens v Marianna Spring: Is the BBC Licence Fee now being used for Thought Policing? The BBC has now moved on from trying to tell us what to think, to policing those who don't share its views. Last week I was approached by a Marianna Spring, who proclaims herself the Corporation's 'Disinformation Reporter'. She wants to question me about my work during the Covid panic. I'll keep you informed about her enquiries, which are proceeding. But my view is that her very title is an expression of prejudice. 'Disinformation' is just a long way of saying 'lying'. If she thinks I'm dishonest, then let her say so on the BBC and we'll see how that goes. But in general, if you want to investigate something, you start with an open mind and see what you find. How can your mind possibly be open, if you glorify yourself as a judge of truth before you even start? And remember, this is being done wit

The Daily Mail also quotes Radio 4's Justin Webb saying : I am genuinely more at home with silence than I am with even informative noise. So at home, although I work on Radio 4 and it pays all my bills, my wife turns it on and I turn it off. He does right.  

The Daily Mail 's moving interview with Sir Cliff Richard today is a must-read. What he endured mustn't be forgotten. Mail journalist Stephen Wright notes, as his report proceeds, that : What becomes increasingly evident as our interview proceeds is that he is not just angry and disappointed with the police, he feels even more let down by the BBC. What Sir Cliff wants is something the BBC is almost invariably very reluctant to offer: “a full, un-caveated, apology from the corporation”. The old joke that “executive heads will roll” after BBC scandals isn't as funny as it used to be because even executive heads never seem to roll these days, except to roll upwards: He is deeply unhappy that former BBC director-general Lord Hall emerged unscathed from the debacle and has retired, that director of news Fran Unsworth — who signed off the use of the footage of the police raid on Cliff's home — is soon to retire, and the journalist who covered the raid, Dan Johns

  As regular readers will know, my reasons to listen to BBC Radio 4 have fallen away in recent years. Another reason has sadly left us today... Barry Cryer has made me laugh for most of my life.  His laugh rang out as distinctively as Sid James's over more than half a century. Indeed, this very blog has been known to celebrate his jokes over the years, so much so that we've been almost part of his fan club. So from the ITBB archives: From 2014, some ISIHAC new dictionary definitions that tickled our fancy enough for us to transcribe them for your delectation: alter ego - a priest who's full of himself tamper - what you take on a Yorkshire picnic gladiator - an unrepentant cannibal Plus some suggestions for titles of films like to prove popular with an audience of dog-lovers: Hawaii Fi-Do Arselick and Old Lace And in 2015 we transcribed two jokes from his appearances on Broadcasting House , the first featuring one of his legendary parrot jokes:

As Sue notes in the post above, today is Holocaust Memorial Day.  Before work today I was re-reading something I wrote for my old classical music blog Serenade to Music back in 2012: Scherzo triste - The Music of Pavel Haas . Pavel Haas was a Czech/Jewish composer, a pupil of the great Leos Janacek, and - in my view - an unsung master. His dates, alas, were 1899-1944. He was murdered in Auschwitz-Birkenau.   I'm going to post one of his pieces for you: his String Quartet No. 2, 'From the Monkey Mountains' , Op.7 of 1925. If you were impressed by that then wait until you try Haas's String Quartet No. 2, 'From the Monkey Mountains', Op.7 of 1925, where the undoubted traces of Janáček's two great string quartets ( The Kreutzer Sonata and Intimate Letters ) don't in any way detract from a remarkable achievement. There are four movements, of which the first, Landscape, is closest throughout to the teacher's idiom. The second, Coach, Coachman A

There have been yet more twists and turns this week in the story of the BBC's reporting of the antisemitic incident on Oxford Street where some Muslim youths spat at and threw shoes at a bus containing Jewish teenagers, also shouting abuse and dir ecting  Hitler salutes at th em . The BBC's Executive Complaints Unit [ECU] partially upheld complaints against it , amending their online report again and adding a second correction. The ECU found that the reporting didn't "meet the BBC’s standards of due accuracy" and "also lacks due impartiality in failing to reflect alternative views". Presented like that you can see why some newspapers are reporting this as an "apology", but the " Partly upheld" status of the complaint signals that the BBC is holding its shaky ground on some fronts; indeed, the more I read it and saw all the usual BBC weasel words, 'ifs and buts', etc, the clearer it became that the BBC was actually excus

The Fondation Beyeler will devote the first exhibition of its anniversary year to Georgia O’Keeffe (1887– 1986), one of the most significant painters and an icon of modern American art. With 85 works from mainly American public and private collections, “Georgia O’Keeffe” offers a representative overview of this exceptional artist’s many-faceted and endlessly surprising work. The retrospective provides European viewers with a rare opportunity for such in-depth exploration of Georgia O’Keeffe’s work, which is hardly represented in collections outside the United States.  The exhibition at the Fondation Beyeler highlights O’Keeffe’s distinctive way of contemplating her environment and translating her perceptions into wholly unprecedented images of reality – at times almost abstract, at times close to their model in nature.  “One rarely takes the time to really see a flower. I have painted it big enough so that others would see what I see.” This quote from 1926 can be viewed as a guiding

Reading Public Museum   May 14 through September 25, 2022 William Baziotes, (American, 1912 – 1963), The Souvenir, 1940s, oil on canvas, 18 x 20 1/8 inches, Gift, The Ethel Baziotes Trust and Estate of William Baziotes © Estate of William Baziotes   The Foundation for the Reading Public Museum received two major gifts in 2021 and 2022 from The Ethel Baziotes Trust and Estate of William Baziotes in New York, New York. The large gift of nearly one hundred works includes sketchbooks, drawings, watercolors and gouaches, oil paintings on canvas and board, and archival material representing the full scope of the Pennsylvania-born artist’s career from the early 1930s through the early 1960s. The gift includes some works from Baziotes’s W.P.A. period, early Surrealist period, his geometric/cubist period and his lyrical mature style developed in the 1950s and 60s. William Baziotes (American, 1912 – 1963) was born in 1912 Pittsburgh to Greek immigrant parents. The family moved to Readi