Art
Lil Nas X Did at Least Something Right With ‘J Christ’: He Revived the Art of the Album Cover
As new music launches go, the arrival of Lil Nas X’s “J Christ” single and video earlier this month was hardly blessed. The artwork that adorned the single — Lil Nas X strapped to a cross and being hoisted up by five women, an apocalyptic sky behind them — led to a predictable uproar from the religious front. So much so, in fact, that Lil Nas X posted a video on his socials explaining the imagery (“It was literally me saying I’m back like Jesus”) and apologizing for offending anyone with the song’s accompanying, pretty devilish video, which is jammed with crucifixion imagery and an incongruous allusion to Noah.
Was the single cover for “J Christ” ridiculous, over the top, and begging for controversy? No doubt. But now that it’s been two weeks since all hell broke loose, we can’t say we’re not mesmerized by the artwork. And in that regard, Lil Nas X got at least one thing right: He helped further the ongoing renaissance of musical cover art.
Starting with the lavish painting on his debut album Montero — that psychedelic ancient-temple landscape with a nude Lil Nas X floating in the middle — and now its follow-up, the rapper shows he’s keenly aware that album art is a unique and powerful form.
Dating back to the likes of Sgt. Pepper’s Lonely Hearts Club Band, Exile on Main St., and Nevermind, to cite a mere few of hundreds of examples, the record jacket has had a pretty storied history. But by the dawn of this century, something was out of focus. With the LP dead and the CD waning, the rise of digital music seemed to put a damper on design. Covers grew less detailed and blunter, dominated by big, blocky lettering and simple images and fonts. It’s as if they were being designed for online music sites or the tiny screen of your phone, where they’re reduced to the size of postage stamps.
But over the last decade, lavish, eye-grabbing jackets starting making a return, a trend that was surely tied in with another comeback — that of vinyl. By now, it’s pretty clear that a good chunk of people who buy LPs don’t play them as much as use them for home decor: They’re the new dorm-room posters.
Since those 12-by-12 packages are more popular than they’ve been in a long time, artists and designers — and the pop stars who hire them — seem to be newly inspired. As Lil Nas X shows, the hip-hop world has particularly stepped up with some of the must-see cover art of the last few years. Start with Kendrick Lamar’s To Pimp a Butterfly and its provocative photo of what looks like a post-revolution party on the White House lawn.
Last year alone gave us Lil Uzi Vert’s Pink Tape, depicting him in front of an American flag with a matching jacket, his spiky hair practically jabbing into the stripes. On Set It Off, Offset is seen plunging from an upside-down world on fire, which captures our dystopian landscape as much as any record could. Reason to Smile, from British hip-hop artist Kojey Radical, shows him elevating into the air, as if he’s experiencing the Rapture. With its AI-generated art of a crazed board of executives, Lil Yachty’s Let’s Start Here was as disturbing as a Jordan Peele film.
Pop and rock have made a strong showing too: The guy posing atop an abandoned car on a beach of the 1975’s Being Funny in a Foreign Language; the detailed everyday-stress cartoon illustrations (by Scarlett Curtis) on Ed Sheeran’s Autumn Variations, a cover that would surely only exist with the return of vinyl. Kelela’s solemn face emerging from — or being submerged into? — water on Raven. The rainbow on fire of Sigur Rós’ Átta, which conjures vintage art like that of Pink Floyd’s Wish You Were Here. Even Yes, who blew many a prog-rock fan’s mind with the art on Tales from Topographic Oceans and Relayer, again recruited Roger Dean, creator of those jackets, for last year’s Mirror to the Sky.
We haven’t seen a barrage of cool artwork like that in years. And now we can add Lil Nas X to the list. As much as he may have alienated conservatives — and perhaps some of his own fans by backing down — he won over the art-cover geeks.
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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”
On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.
Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”
The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.
Blaze in the West Wing
The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.
About Somerset House
Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.
Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.
Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.
Sudbury’s annual art and music festival is marking a significant milestone this year, celebrating its long-standing impact on the local cultural scene. The festival, which has grown from a small community event to a major celebration of creativity, brings together artists, musicians, and visitors from across the region for a weekend of vibrant performances and exhibitions.
The event features a diverse range of activities, from live music performances to art installations, workshops, and interactive exhibits that highlight both emerging and established talent. This year’s milestone celebration will also honor the festival’s history by showcasing some of the artists and performers who have contributed to its success over the years.
Organizers are excited to see how the festival has evolved, becoming a cornerstone of Sudbury’s cultural landscape. “This festival is a celebration of creativity, community, and the incredible talent we have here in Sudbury,” said one of the event’s coordinators. “It’s amazing to see how it has grown and the impact it continues to have on the arts community.”
With this year’s milestone celebration, the festival promises to be bigger and better than ever, with a full lineup of exciting events, workshops, and performances that will inspire and engage attendees of all ages.
The festival’s milestone is not just a reflection of its past success but a celebration of the continued vibrancy of Sudbury’s arts scene.
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