Coronis 1990

Editor: So, this is "Coronis" by Boris Vallejo, an oil painting from 1990. It has this ethereal, dreamlike quality, almost like a classical myth being retold with a modern sensibility. How would you interpret the work in its historical context? Curator: Interesting. Vallejo's work emerged in a period hungry for escapism, when fantasy illustration gained prominence through book covers and film. What is fascinating about this image is its reinterpretation and, in some ways, the commercialisation of mythological imagery. He takes these stories and repackages them for mass consumption, but what’s lost, and perhaps what’s gained, when these powerful archetypes are rendered in this way? Do we engage with myth differently in a gallery setting versus on, say, a book cover in a store? Editor: That's a great point. Seeing it as mass consumption reframes the art a lot. It is also displayed online, through institutions such as this museum... it’s far removed from an original myth at this point. But what do you think this says about art institutions and their role in popularizing genres once considered outside of "high art?" Curator: It demonstrates a fascinating blurring of boundaries. Galleries displaying such work challenge traditional notions of art world "purity" and hierarchies, suggesting that institutions are becoming increasingly receptive to diverse visual cultures. It could also be argued that popular acceptance shapes how 'serious' art engages with imagery that may have first gained exposure in popular outlets. Do you think this elevates the source material, or taints it in some way? Editor: I think, as popularity and access widen, it shifts the source's cultural significance. Seeing it here has certainly made me see it as more of a conversation between classical tropes and modern visual language than as a mere illustration. Thanks! Curator: Absolutely. It makes you think about how images function differently within different social spaces. Food for thought!