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Easily the most famous depiction of famine in art history is Vincent van Gogh’s 1885 oil painting, The Potato Eaters. At the time of its creation, the phrase "potato eater" was considered pejorative in both Dutch and German.
Midway through October, tech experts Anthony Bourached and George Cann were prepared to unveil their AI-generated recreation of a lost Picasso at London’s Deeep AI Art Fair, when they received a letter from the U.K. side of Picasso’s estate demanding they cease and threatening legal action.
Museum-goers, this author included, are often guilty of walking past still life paintings of food, dismissing them as dull and anodyne. Yet, taking in the context of when they were created, these works of feasts and even ordinary fare are often as political as they are historical. 
Much as the late nineteenth-century American myth of Manifest Destiny was used to justify westward expansion, many history paintings worked to shape and uphold stories of superiority and inferiority. This popular genre of painting, especially when applied to the depiction of historical events, sheds light on the manner in which art can be used to manipulate the truth.
It is an understandable human instinct to treat any crisis as if it were the first of its kind. A century ago, those fears revolved around a widening gap between rich and poor, a global pandemic, and a growing loss of community. Sound familiar?
Upon its creation, Quidor’s painting was widely panned by art critics for being too dark and focusing more on the woodland nature than on the chase. In many ways, this was a clever choice by Quidor, whose perspective reveals the two men for what they are: immature characters fighting over a young woman who is attracted to neither of them.
The October 2021 Focus for Reframed is Ghoulish Horror and death in entertainment shows have captivated millions of Americans in the last decade, from Netflix’s most-binged series in 2018, The Haunting of Hill House, and its more recent Midnight Mass, to podcasts including Crime Junkie and Anatomy of Murder. Why are we so haunted by horror?
Saints canonized by the Catholic Church come mostly from two major categories: those who lived with or were martyred for Jesus Christ, and those in the centuries since whom performed miracles. Regardless of one’s religious beliefs, many of these saints’ stories are rooted in faith more than fact.
In 1988, artist Lynn Hershman Leeson told an interviewer to “imagine a world in which there is a blurring between the soul and the chip.” That mental blur—and the ways in our internet lives, and especially internet vernacular, is subtly interwoven into our actual lives—is a theme of Reality Ender, painter Avery Singer’s first New York show, on view at Hauser & Wirth through October 30, 2021. 
This self-portrait, exhibited in Paris in 1895, came with a caption from an unnamed male art critic noting that “this woman” often had critics assume the work had been painted by a man, because no woman would have been capable of this quality of painting.