Editor’s Note: This article is part of Newsmakers, a series from ARTnews where interviews are conducted with influential figures who are making waves in the art world.
Singer-songwriter Lucy Dacus’s latest album, Forever Is A Feeling, has been eagerly anticipated by her fans, but art enthusiasts have reasons to be excited as well.
The album cover showcases a portrait of Dacus painted in a Renaissance style by artist Will St. John. In the painting, the 29-year-old singer is dressed in a draped cream outfit, with her gaze reverently directed downwards towards a fake tattoo of the album title on her chest.
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The album’s 13 songs are filled with art references, with one of the most prominent being the track „Modigliani.“ In this song, Dacus sings about missing her friend, Phoebe Bridgers, with whom she performed in the band Boygenius. Inspired by visits to the Barnes Foundation in Philadelphia, the song directly references the Italian painter Modigliani and his distinct style of painting women with almond-shaped eyes.
Prior to the album’s release, Dacus incorporated these art influences into her performances at venues such as the Legion of Honor in San Francisco and Saint Eustache Church in Paris.
ARTnews recently interviewed Dacus at the Barnes Foundation to discuss her artistic inspirations, her love for museums, and her approach to sincerity in art.
This interview has been edited and condensed for clarity and brevity.
ARTnews: How did your interest in art develop?
Lucy Dacus: My father is a graphic designer who studied art in Mississippi. He has a hands-on approach to art and design, which I believe influenced me. Additionally, exposure to art programs in school and visiting museums in Virginia and Washington, D.C. played a crucial role in shaping my appreciation for art.
How did the artwork at the Barnes Foundation impact your music?
Museums are ideal places for me to find inspiration for my music. I often compose songs in my head while walking through museums. The setting of the Barnes Foundation, with its lack of title cards and salon-style arrangement of artwork, allows for a unique and personal connection with the art.
The intimacy of the Barnes collection resonates with the emotional depth in your music, as seen in the album cover. Can you elaborate on the process of integrating art into your work?
I wanted to avoid irony in my record, which led me to create a highly detailed portrait of myself for the album cover. This decision was a departure from the trend of ironic or referential art. The painting by Will St. John served as a central motif, influencing visuals such as the „Ankles“ music video and set designs for the upcoming tour. Despite the discomfort of being the focal point on the cover, the painting has guided the creative direction of the album.
Aber ich bin nur entzückt zu wissen, dass wir Leute eingestellt haben, um die Kunst zu machen. Ich mag es, Künstler einstellen zu können, und ich mag KI wirklich nicht.
In Bezug auf das Albumcover haben Sie davon gesprochen, dass es Ihnen unangenehm ist, im Mittelpunkt zu stehen. Auf Ihren anderen Alben sind Sie nicht zentriert, wenn überhaupt gezeigt. Es gibt etwas so Verletzliches und Unmittelbares daran, sich selbst in den Vordergrund zu rücken. Erzählen Sie mir von Ihrer Erfahrung bei der Zusammenarbeit mit dem Künstler Will St. John.