April 23 – November 27, 2022

April 23 – November 27, 2022

April 23 – November 27, 2022

April 23 – November 27, 2022

April 23 – November 27, 2022

The Gray Man borrows from a slew of CIA thrillers

Why Japanese masterpiece Princess Mononoke flummoxed the US

Magical transformations, from Cinderella to new film Mrs Harris Goes to Paris

How a 1922 painting broke the mould

As Better Call Saul ends, how it improved on its acclaimed predecessor

Memoir, poetry and time travel stories are among the BBC Culture picks

The films, TV shows and books exposing the painful realities of having a child

How the underrated masterpieces of Eric Ravilious offer a unique view of wartime

Taika Waititi's latest Thor is 'thundering and sensitive'

April 26 – July 2, 2022

June 9 – July 9, 2022

Jenny Moore will step down from the Chinati Foundation after serving nine years as director. Her term at the nonprofit organization, which manages more than 100 works by Donald Judd in Marfa, Texas, will officially end on July 31.

Marella Consolini, who was the chief operations officer of the nonprofit institution from 2010 to 2014, will act as interim director while the board of trustees conducts an international search for Moore’s replacement.

During her time as director, Moore overhauled the organization’s management and vision, transforming Chinati, which was established in a series of warehouses on 340 acres in the west Texas desert by Judd in the 1980s, into a full-fledged contemporary art museum with an annual attendance that peaked around 50,000 before the pandemic. In 2017, she introduced the multiphase “Master Plan” for the preservation of the museum’s buildings, the improvement of its visitor experience, and the restoration of its vast grounds.

Among her accomplishments is the 2016 unveiling of untitled (dawn to dusk), a 10,000-square-foot, C-shaped concrete structure by Robert Irwin. It’s monumental reconstruction of a former army hospital, divided by corridors of alternating windows and translucent scrims that cast the building half in darkness and half in sunlight.

This April the museum completed a $2.7 million restoration of the John Chamberlain Building, one of three converted wool warehouses dedicated to contemporary artists Judd admired, and the 22 large-scale sculptures made of crushed automobile parts installed inside. It is the world’s largest permanent installation of Chamberlain’s works, and had for years suffered damage in the region’s scorching heat, high altitude, and winds.

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Four hundred religious monuments in Spain are in serious danger due to neglect, Hispania Nostra, a nonprofit that works to promote and conserve “cultural and national heritage” in Spain, said in a statement Thursday.

Hispania Nostra publishes a record of different monuments, buildings, and sites of archaeological importance around the country and the condition they’re in. The Red List, which is published on a rolling basis, notes which sites are in a state of serious disrepair; their most recent update notes that many religious monuments are fading away due to neglect and looting.

“Monasteries, hermitages, monasteries, churches and hospitals were abandoned, if not razed, vandalized and looted, and what used to be monuments that housed valuable libraries and works of sacred art, were reduced to a heap of rubble,” reads the statement.

“Many times, the stones and wooden beams of these convents were uprooted to build houses, fences or even bullrings, while the most valuable and elaborate ones (capitals, columns and even entire cloisters) were sold, sometimes to foreign buyers.”

Hispania Nostra pointed out sites like Sanctuary of the Virgin of Grace which was built in 1795 and is located in Teruel in eastern Spain. Only its walls and floors remain, but the imagery that once adorned it have all been erased by time, the organization said. Many of the sites on the list contain decorative elements such as frescoes and altar pieces that are being destroyed by humidity and lack of care.

London’s Victoria and Albert Museum will return to Turkey a marble head of the Greek deity Eros that was separated from a sarcophagus dating to the 3rd century CE. The move resolves a struggle of nearly a century to restitute the object.

The V&A described the artifact’s return as “a cultural partnership” with the Turkish government agency overseeing culture and tourism.  The loan agreement, which is set to last for a period of six years, acknowledges shared ownership between the Turkish government and the U.K. museum, which is state-run.

The Eros fragment was taken in 1882 by Charles Wilson, a British military official during a stint in Anatolia, when he discovered a Roman sarcophagus in the Karaman province of central Turkey. Wilson subsequently loaned the head to the V&A, which was then known as South Kensington Museum. It was gifted to the museum in 1933 after his death.

The V&A discussed returning the head to Turkey in exchange for a Byzantine antiquity. The museum’s then director, Eric Maclagan, openly expressed concern about potential repercussions of such a restitution deal on other artifacts held in British museums.

In 1934, though, the U.K. government authorized the marble head’s return to Turkey. To see if the marble head really was from the original sarcophagus, the V&A initially provided a plaster duplicate to experts in Turkey. The marble head continued to be held in storage in London into the late 20th century.