A mere week after the unveiling of King Charles’s bizarre official portrait, his favorite daughter-in-law, Princess of Wales Kate Middleton, is obliquely represented in a painting for the cover of Tatler magazine. With such hapless portraits, the British royal family seems to have lost all control of its public image.
In this edition, you can read our contributors’ different takes on the monarchial portraits, including a surprising defense of Jonathan Yeo’s controversial depiction of Charles.
Also this week: Alice Procter on Remedios Varo’s drawings, Zoë Hopkins on light and shadow in Ming Smith’s photography, Livia Caligor on Hiroshige’s woodblock prints of 19th-century Tokyo, and John Yau pays tribute to artist Joe Zucker, his longtime friend, who passed away last week.
From Uvalde, Texas, Tiffany Hearsey reports on a moving mural project that honors the memory of the children and school teachers massacred by a teenage gunman at Robb Elementary School two years ago this week.
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The murals not only serve as a remembrance of the victims, but bear witness to the people and places impacted by gun violence across the United States. | Tiffany Hearsey
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NEW THIS WEEK
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FROM OUR CRITICS
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The artist subverts the status system of 19th-century Japan, foreshadowing the impact of modernization and industrialization. | Livia Caligor
Varo’s drawings crack the cold flawlessness of her paintings, and it’s exciting to see the looser, simpler skeletons underneath the surface. | Alice Procter
From Smith’s art, we glean a picture of an artist transformed by risk, by a willingness to wander toward obscurity. | Zoë Hopkins
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After moving to Honolulu in his early 70s, the Gen’ichirō Inokuma drew inspiration from the rainbows, night sky, and other natural phenomena of his new home. | Lauren Moya Ford
Her paintings become even more visceral when set against her cerebral symbolism. | Leah Triplett Harrington
The artists in Devoted: Religion in Asian American Art offer complex perspectives on religion grounded in their lived experiences. | AX Mina
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ROYAL PORTRAITS
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The viral painting mirrors a contemporary movement that allows for improvisation and often fuses representation and abstraction in unexpected ways. | John Seed
It’s tough times out there for royal portraitists, and this less-realistic visage of the People’s Princess stood no chance of being well-received. | Sarah Rose Sharp
Just like Velázquez’s last portrait of King Philip IV of Spain, Yeo’s blood-red painting signifies the imminent downfall of a monarch. | Saam Niami
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MORE ON HYPERALLERGIC
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With stops at the Salt Shed and the Tribeca Synagogue, the tour was among the highlights of Jane’s Walks, an ongoing series of curated strolls across the city. | Aaron Short
Those of us in arts philanthropy need to redouble our efforts to fund artists and organizations of color and sharpen our grantmaking practices to advance racial justice. | Rocío Aranda-Alvarado and Lane Harwell
More than any other artist of his generation, Zucker rejected the conventions associated with Abstract Expressionism, particularly its subjectivity. | John Yau
This week, Scarlett Johansson, college football, Medieval homophobia, and much more. | Lakshmi Rivera Amin and Elaine Velie
Residencies, grants, open calls, and jobs from The Bennett Prize, Ucross, Oak Spring Garden Foundation, and more in our monthly list of opportunities for artists, writers, and art workers.
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You’re currently a free subscriber to Hyperallergic. To support our independent arts journalism, please consider joining us as a paid member. |
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