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  For the first time in the Baltimore Museum of Art ’s (BMA) history, the people who protect the art have selected the art.   Guarding the Art,   an exhibition curated entirely by 17 current and former members of the museum’s security team, opens on Sunday, March 27 , with approximately 25 works of art from across the BMA’s collection.  Max Ernst. Earthquake, Late Afternoon. 1948. The Baltimore Museum of Art: Bequest of Saidie A. May. BMA 1951.297. © Artists Rights Society (ARS), New York / ADAGP, Paris Winslow Homer. Waiting an Answer. 1872. The Peabody Art Collection. Collection of the Maryland State Archives. L.1924.25.16 Max Beckmann. Still Life with Large Shell. 1939. The Baltimore Museum of Art: Gift of William A. Dickey, Jr., BMA 1955.77. © Artists Rights Society (ARS), New York / VG Bild-Kunst, Bonn Mickalene Thomas. Resist #2. 2021. The Baltimore Museum of Art: Purchase with exchange funds from the Pearlstone Family Fund and partial gift of The Andy Warhol Foundat

  Museums and scholars revisit the story of American modernism regularly, but few exhibitions have examined modernist works on paper. “Graphic Eloquence: American Modernism on Paper from the Collection of Michael T. Ricker,” on view from March 5 to September 4, 2022, at the Georgia Museum of Art at the University of Georgia, hopes to change that conversation. The exhibition includes approximately 150 works by 70 artists, both well known and overlooked, and will be accompanied by a catalogue published by the museum. William Baziotes (American, 1912 – 1963), untitled (abstraction), 1945. Ink and watercolor, 11 9/16 × 14 1/16 inches. Promised gift of Michael T. Ricker.   Modernism reflected global shifts in thought and expression, partially as a result of the industrial revolution. The Armory Show of 1913, which opened in New York, is generally accepted as the starting point of American modernism. Although European artists received the majority of attention and exhibition space in t

I continue to have lots of conflicting opinions about Julian Assange.  I, therefore, still don't quite know what to make of him, or how much to admire him or dislike him.  I veer all over the place over him, like John Sweeney on a Ukrainian ice rink after too many Kir Royales. But I think I  do know what to make of the BBC's world affairs editor, John Simpson:  John Simpson is a BBC man who lets his biases show, with his BBC bosses' indulgence, whilst vigorously claiming to be impartial and aggressively claiming that those who criticise him are rude and unreasonable. Back in January 2021 Charlie - here at ITBB - mentioned a John Simpson report on BBC One's News at Ten , saying that JS is "obviously a fan of Julian Assange", adding: His long ‘love letter’ report on tonight’s main news was a one sided affair carefully crafted in its use of words and images to leave the viewer in no doubt that he is more a hero than a villain. I then raked up a

  The first major museum exhibition to explore the early work of Roy Lichtenstein, one the most celebrated American artists of the 20th century, will be on view at the Columbus Museum of Art from March 4 through June 5, 2022. Roy Lichtenstein: History in the Making, 1948–1960 offers an in-depth view of the artist’s years in Columbus, Ohio, and includes approximately 90 works on loan from public and private collections in a range of media. With many works on public view for the first time, this unprecedented exhibition demonstrates the formal invention and provocative nature of Lichtenstein’s early work. “Many people know Roy Lichtenstein’s work but may not be aware of his formative years in Ohio. Until this exhibition, almost no one had really seen this work all together,” said Nannette Maciejunes, CMA executive director and CEO. “This region helped shape Lichtenstein’s towering achievements in American art, and the Columbus Museum of Art is a perfect place to share a more robust st

  Museo Nacional del Prado.   Madrid 3/8/2022  -  6/12/2022   The Apostles around the Empty Tomb of the Virgin FRANCESCO ALBANI Mural painting transferred to canvas, 193 x 272.5 cm 1604-5 Barcelona, Museu Nacional d´Art de Catalunya, deposit of the Reial Acadèmia Catalana de Belles Arts de Sant Jordi. In the early years of the 17th century Annibale Carracci (Bologna, 1560 - Rome, 1609) accepted the commission from Juan Enríquez de Herrera to paint frescoes in his family chapel in San Giacomo degli Spagnoli in Rome. Carracci devised the entire scheme and painted some of the frescoes prior to 1605 when he became seriously ill, which obliged him to cease working on the project and entrust the execution of the paintings to Francesco Albani. Despite the fact that this was the most important commission which Carracci received in the final phase of his career, these frescoes - which depict scenes from the life of Saint Didacus of Alcalá, an Andalusian Franciscan who died in

  The San Diego Museum of Art   March 19 through August 7, 2022 This marks the first time the Bemberg Foundation’s Impressionism collection, which rarely leaves its permanent home in France, has traveled to California and is one of only two showcases in the United States. Slideshow Organized by the Bemberg Foundation, based at the historic Hôtel d’Assézat in Toulouse, France, the exhibition features more than 60 works produced between the 1870s to 1930s. This is the second installment of a loan from the Bemberg Foundation, following the  Cranach to Canaletto  exhibition   on view at the Museum from June to September 2021.   Among the artists represented are renowned painters Paul Cézanne, Edgar Degas, Claude Monet, Berthe Morisot, Pablo Picasso, Alfred Sisley, while Pierre Bonnard is represented by over ten remarkable examples. Impressionism, and the movements it inspired, such as Pointillism and Fauvism, paved the way for Modernism, as early works by Pablo Picasso and Henri Ma

Meanwhile, the usual goes on as usual... I saw a tweet from Douglas Murray responding to this tweet from Justin Trudeau: The attack on congregants at the Dar Al-Tawheed Islamic Centre is incredibly disturbing. I strongly condemn this violence – which has no place in Canada – and I’m keeping the community in my thoughts today. I also want to applaud the courage of those who were there this morning. Douglas replied: In related news, the name of the alleged attacker is Mohammad Moiz Omar. This led me to other tweets, some from Canadian MPs leaping in too soon to denounce 'Islamophobia', others responding to those Canadian MPs telling them the name of the alleged attacker and criticising them for leaping in too soon, and leaping to conclusions. It also led me to tweets criticising the Canadian answer to the CBC for doing what we so often accuse the BBC of doing. But what of the BBC themselves?  They've reported it under the headline Canada mosque: Worshippers stop

“BBC chiefs are lining up journalist and newsreader Clive Myrie to replace Emily Maitlis on Newsnight , The Mail on Sunday can reveal”, says the The Mail on Sunday . My favourite Clive Myrie moment came five years ago when he appeared on Richard Osman's House of Games and had to locate Ukraine on a map of Europe. My flabber was well and truly gasted when, after TV presenter Angela Scanlon correctly marked her guess for where Ukraine is with a green dot, Clive, having given it time and thought, then revealed his orange dot for where he thought Ukraine is: Clive had located it in Azerbaijan. He didn't win the point.  “He reads the news. It would be embarrassing”, teased Richard Osman, quipping, “Clive, you know what, Ukraine hasn't really been in the news recently, has it?” Everyone laughed.

Another of our old BBC favourites, retired BBC veteran Hugh Sykes,  took to Twitter the other day  in light of the BBC's Ukraine coverage to take a potshot at Jon Sopel and Emily Maitlis: Hugh Sykes : I bet the recent Big Name defections from the BBC are regretting their decision to go dosh-and-podcast - they are nowhere near the front line now: out of sight, out of mind. David M. Beneš : Oh they’ll soon be back, like KK. Hugh Sykes : No one is indispensable. I was also thinking about Maits and Soapless today in light of all the chat hereabouts about how  The New York Times  has just conceded that  The New York Post  got it right in 2020 when reporting the Hunter 'Son of Joe' Biden laptop story - a possible major scandal with strong implications for the ethical standing of the present US president, especially in light of the Ukraine crisis.  This was, notoriously, something that landed  The New York Post  - a famous US newspaper - with a two-week Twitter ban for it

Russia Today's UK licence has been revoked by Ofcom. Ofcom says RT isn't "fit and proper to hold a UK broadcast licence". Intriguingly, the BBC's opinionated world affairs editor John Simpson  disagrees with the decision : John Simpson : I’ve got contempt for Russia Today — the ultimate fake news station. But is it right for a democracy to try to silence it? This makes me feel really uneasy. The responses are intriguing too: Joe and the Scot : Yes it is. The disinformation is killing people. John Simpson : If you start blocking disinformation, you wouldn’t have many newspapers left. And precious few politicians. Roast Dinners In London : Should have been done 10 years ago. Democracy and freedom is too important. RT is actively against both. John Simpson : So democracy and freedom are too important to allow freedom of speech? Such replies provoked  a further tweet  on the subject: John Simpson : Orwell wrote ‘If liberty means anything at all, it means

Dr Philip Cunliffe, Senior Lecturer at the School of Politics and International Relations at the University of Kent, is someone I follow on Twitter. Being a man of the Left he naturally reads  The New Statesman.  He  wasn't impressed  by  one of its latest pieces  though: Philip Cunliffe : Perhaps you thought the Ukraine war was about defending sovereignty and national independence? It's actually about us Rejoining the EU, according to this latest Andrew Marr piece. They will never accept democracy went against them. Andrew Marr's piece begins like this:  In the earthquake caused by this war, a grand reshaping around the world, relations between Britain and the EU must again become our biggest near-at-hand argument. Almost nobody in mainstream British politics wants to talk about this. For Brexiteers any other issue may, in theory, be reopened, from tax promises to Scottish independence; but Brexit is a sacrosanct and holy victory that must remain forever untouched.

  The Virginia Museum of Fine Arts (VMFA) announced Wednesday their receipt of a significant gift from longtime patrons James W. and Frances Gibson McGlothlin. With a total collective value of nearly $60 million, the donation includes a substantial contribution to VMFA’s expansion campaign, which will culminate in a second major wing at the museum named after the couple — the James W. and Frances G. McGlothlin Wing II — as well as 15 remarkable paintings by prominent American artists.  "Girl in Hammock," 1894, Theodore Robinson (American, 1852–1896) Oil on canvas laid down on board. Wikimedia Commons; Michael Altman Fine Art, NY In June 2021, VMFA announced that the museum has undertaken an exciting $190 million expansion and renovation project, anticipated to be completed in Spring 2026. International architectural firm SmithGroup is charged with designing the 170,000-square-foot James W. and Frances G. McGlothlin Wing II, which will include galleries for American a