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See Beyoncé In Her Stunning ‘Renaissance’ Era Photos

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Beyoncé unleashed  Renaissance on July 29, and with the new era came jaw-dropping images. Promotional photos for the “Break My Soul” singer’s seventh solo studio album pulls inspiration from Prince , her hometown of Houston, and supermodel imagery from the ’80s and ’90s.

Renaissance serves as the follow-up to Beyoncé’s last solo studio album: 2016’s  Lemonade . The new album’s lead single, the Robin S. -evoking “Break My Soul,” has thus far been climbing the Billboard Hot 100 since debuting at No. 15. In the interim between her two proper solo albums, the Grammy-winner flexed her artistic muscle on projects such as Homecoming ,  Everything Is Love (as one half of The Carters ), and  The Lion King: The Gift.  The latter was accompanied by  Black Is King , a stunning visual album that landed on Disney+ a year after the release of the album, a companion to the 2019 photorealistic remake of The Lion King .  Everything Is Love , on the other hand, spawned the Grammy-nominated and VMA-winning music video for “Apeshit,” which debuted at No. 13 on the Hot 100.

Black Is King joined the B’Day Anthology Video Album (2007),  Beyoncé (2013), and  Lemonade (2016), as the “Brown Skin Girl” singer’s fourth visual album. Until visuals for Renaissance arrive, Beyoncé is keeping the Beyhive fed with this luxurious album photoshoot. The Mason Poole-helmed shoot finds Beyoncé slinking down club staircases, lounging on velvet couches, and levitating in a church while dripped out in an Alaïa gown.

See Queen Bey in the available Renaissance pictures so far.

Queen Bey Brings Her ‘Renaissance’ to the Rodeo

While lounging on the same disco ball horse that appears on the album cover for the standard edition of  Renaissance , Beyoncé wears a custom-made crystal bodysuit from Dominican designer Giannina Azar, belts into a mic, and raises her cowboy hat to the skies.

The ‘Church Girl’ Takes Flight

In a nod to one of the standout  Renaissance tracks (“Church Girl”), Beyoncé levitates in a church while wearing a lime lace mermaid Alaïa gown.

Bare-Faced Bey

Departing from the glamorous high-fashion of the rest of the images, Beyoncé opts for a soft glam profile in this photograph.

Alien Superstar

The disco ball motif finds itself reincarnated by way of a staircase in this  Renaissance photo. Bey flaunts her curves in a custom 3D printed corset from fashion designer Luis De Javier. 

Hats Off to the Queen

Featuring a statement earring and a sequined hat, Beyoncé smolders into the distance in this black-and-white Renaissance shot.

Reneigh Comes to Life

Some members of the Beyhive have lovingly nicknamed the  Renaissance  horse “Reneigh.” In this picture, Beyoncé sits adjacent to an actual horse as she perches atop a bar.

The Category Is …

Beyoncé knows how to deliver a striking pose every time. Fitted out in a black bodysuit with feathered sleeves and a curved, oversized hat, Queen Bey reclines on the floor and stares directly into the camera.

Up Close and Personal

The “Break My Soul” singer opts for a close-up in this initimate  Renaissance shot.

She’s That Girl

In a variaition on the  Renaissance album cover, Beyoncé poses in front of the disco horse decked out in Nusi Quero’s silver chest piece.

Beyoncé lounges on a fur couch with silver star-shaped pasties, a statement diamond necklace, and a singular lengthy brown braid.

Stilettos Kicking Vintage Crystal Off the Bar

Beyoncé ascends the staircase to the club while in a black cowboy hat and black lingerie, with a leather jacket in hand.

Queen of the Disco

Beyoncé goes semi-topless in this silver velvet Gucci gown as she takes her seat underneath a glowing disco ball.

America Has a Problem

Beyoncé cosplays as a news anchor in a red puffer coat from Dolce & Gabbana’s Fall/Winter 2022 Runway collection.

Mother of the House

Beyoncé strikes a pose in this eye-popping gold Melissa Simon-Hartman bodysuit and 24k gold Philipp Plein thigh-highs.

Sunday Best

Beyoncé wows in a custom green netted headpiece from Christopher John Rogers’s Collection 009 in collaboration with Piers Atkinson.

You Won’t Break Her Soul

Beyoncé stuns in a black knit bodysuit sourced from Pieter Mulier’s ALAÏA Summer/Fall 2022 collection.

Beyoncé leans into the bizarre for this  Renaissance look, which features a red dress with dramatic shoulder pads courtesy of fashion designer Yuan Qiqi.

Smoke Break

Beyoncé holds a cigar in her hand as she cools off in this familiar black lingerie number.

It Should Cost a Billion to Look This Good

Beyoncé’s black lace La Perla corset appears once more as she stares down a male patron outside of the club.

Summer Renaissance

Beyoncé’s stretches her long blonde tresses as she poses in a black-and-white bodysuit from Australian designer Bethany Cordwell. 

Beyoncé gives the camera a smoldering look as she models a sheer bodysuit, Jimmy Choo platforms, Wolford’s Elle tights, and a hat co-created by Sarah Sokol and Tina Knowles-Lawson.

The Queens Remix

In a nod to “Break My Soul (The Queens Remix)” collaborator Madonna, Beyoncé models a black bustier and gold cone-bra combo from Schiaparelli’s Spring 2022 coture collection.

All Up In Your Mind

Beyoncé remixes the Christopher John Rogers headpiece with a bedazzled cigarette.

Tens Across the Board

Beyoncé puts her gold Melissa Simon-Hartman bodysuit to the test as she walks a ball in this Renaissance  photo.

Superstar, Supernova

Beyoncé combines a barely there bodysuit with a black Rick Owens Spring/Summer 2022 cape for this mid-action Renaissance shot.

A New Foundation

In one of the earliest images of the  Renaissance era, Beyoncé sports a blunt bob, a black catsuit from Maison Alaïa’s Fall/Winter 2022 ready-to-wear collection, and a custom Destree hat for the “Break My Soul” single cover.

She’s 1 of 1

Beyoncé looks regal in yet another picture of her in Yuan Qiqi’s red dress.

Plastic Off the Sofa

Beyoncé lounges in a Natalia Fender fur coat, a Swarovski chain garter ensemble, silver star-shaped pasties, and billowing honey-brown locks.

Hike It In the Air

Beyoncé takes Reneigh’s spot as she crouches on all fours atop the bar with a saddle on her back.

A Tribute Fit for a Prince

Beyoncé pays tribute to Prince by referencing his iconic “microphone gun” as she poses in a Mugler metal breastplate with a drink in hand.

Don’t Even Waste Your Time Trying to Compete With Her

Beyoncé poses in a black 3D printed corset from fashion designer Luis De Javier. 

King Bey Energy

Beyoncé shares one last flick in this stunning green headpiece from Christopher John Rogers.

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Beyoncé Transcends Time and Space in New 'Renaissance' Concert Film Poster

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‘Bad Boys: Ride or Die’ Refuses to Relent as It Passes Major Domestic Box Office Milestone

We finally know when the next monsterverse movie will roar into theaters, ‘beetlejuice’ haunts new walmart exclusive 4k steelbook.

Parkwood Entertainment’s Renaissance: A Film By Beyoncé , which is gearing up to hit cinemas all over the world on December 1, 2023, has unveiled a new poster. Beyoncé can be seen rocking her celestial, futuristic outfit with a demeanor that resembles Guardian of the Galaxy ’s Gamora . The concert film will first premiere in Los Angeles on November 25 and in London on November 30 before hitting movie theaters around the world on December 1.

Tickets will be available from November 9 in most international markets. For North American fans, the ticket windows are already open — seats can be secured starting at $22 plus tax, and you can check your local theater or find where to watch the film on Beyoncé's website to purchase your tickets. Arriving right after Taylor Swift: The Eras Tour , the concert film is highly anticipated. The legendary tour spanned 56 shows across 39 cities and 12 countries — taking off in Stockholm and ending in Kansas City.

The film "accentuates the journey of the Renaissance World Tour, from its inception," and details the “Crazy in Love” singer’s unwavering dedication, creative spirit, and her legacy. The Renaissance World Tour has attracted millions of people for what the franchise is now calling “a global sanctuary for freedom and shared joy” which resonates with her millions of fans.

Beyoncé and Taylor Swift Are Bringing Concert Films a New Level of Success

Earlier this year, Swift's Eras Tour movie landed historic pre-sale records at AMC and has seen incredible box office returns since its debut on October 12. Now Beyoncé's Renaissance Tour is set to continue the revolution of concert films when it hits the big screen later this year. Beyoncé's latest world tour grossed over $579 million across 56 stops and reached an estimated 2.7 million fans, and the first-day pre-sales of the movie generated an impressive $6 million.

Beyoncé has also previously released her Homecoming: A Film by Beyoncé on Netflix which you can stream right now while you wait for Renaissance: A Film By Beyoncé to arrive in U.S. theaters on December 1 . Check out the new poster of the concert film below.

• Renaissance: A Film by Beyoncé (2023)

All the Photos From Beyoncé’s Renaissance World Tour

She stole the show in custom pieces from Fendi, Gucci, and more

The Renaissance has begun. Beyoncé has stayed incredibly quiet since releasing her critically lauded seventh studio album last summer and now, devout members of the Beyhive are finally able to witness songs such as “Break My Soul,” “Cuff It,” and “Virgo’s Groove” live. Bey opened her first show in a custom shimmering, metallic suit courtesy of Alexander McQueen while she thanked everyone in the crowd who traveled from all over the world to be with her for the tour’s opening night. “You could have been anywhere in the world tonight, but you choose to be here with me,” she said to the crowd after taking the stage. It’s safe to say fans across the world will continue to show up for Queen Bey as the tour progresses from now until the fall. Ahead, see all of the photos from the ongoing Renaissance World Tour.

Beyoncé in Stockholm

The superstar wears custom Alexander McQueen and Tiffany & Co. jewelry for the opening night of the Renaissance World Tour, on May 10, 2023.

Beyoncé onstage on night one of the Renaissance World Tour.

Beyoncé wearing custom Courrèges alongside her dancers.

Beyoncé onstage wearing custom Gedebe boots in Stockholm.

Beyoncé onstage in Stockholm.

Beyoncé in custom David Koma.

Beyoncé onstage in Stockholm in custom Loewe and gold custom booties by Gedebe.

Beyoncé in custom Alexander McQueen and Tiffany & Co. jewelry.

Beyoncé wearing custom Coperni.

Beyoncé in London

Beyoncé in custom Roksanda.

Beyoncé and Blue Ivy in London

Beyoncé and Blue Ivy coordinating in Loewe .

Beyoncé in Mary Katrantzou .

Beyoncé in custom Alexander McQueen .

Beyoncé in custom Off-White.

Bianca Betancourt is the culture editor at HarpersBAZAAR.com , where she covers all things film, TV, music, and more. When she's not writing, she loves impulsively baking a batch of cookies, re-listening to the same early-2000s pop playlist, and stalking Mariah Carey's Twitter feed. 

Quinci LeGardye is an LA-based freelance writer who covers culture, politics, and mental health through a Black feminist lens. When she isn’t writing or checking Twitter, she’s probably watching the latest K-drama or giving a concert performance in her car.

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Beyoncé’s Renaissance Tour Set Is a Dazzling-Disco Afro-Futuristic, Queer Fantasy Brought Center Stage

Design mastermind Es Devlin has done it again.

Queen Bey’s Renaissance world tour kicked off May 10 in Stockholm, following her album’s release last July (the tour is currently on its final leg in the states, where it will run until the end of September). It’s the megastar’s first solo tour in seven years, and the performance—the singer-songwriter’s biggest-budget touring set yet, which Forbes predicts could bring in as much as $2.1 billion—took Devlin and her team almost two years to complete. It was worth the wait.

The arena is befitted with a massive, stadium-size green screen, with a giant circular stage portal in the center. The whole structure is further perforated by LED lights that transform the stage into a fully immersive kinetic light show. And that’s just the framework. Over the course of the show’s three-hour, six-act structure, the stage is transformed into a glitzy disco cowboy wonderland (you couldn’t count all the sequins in just one sitting), a hypnotic lipstick-red universe, and an intergalactic sphere of otherworldly forms and metallic hues.

“Beyoncé’s L.A. studio reminds me of Andy Warhol’s factory,” wrote Devlin in a since-deleted Instagram post, according to Huffington Post . All of which was “shot through with the silver-sequinned joy, liberty, and luminosity of LGBTQ+ ball culture.”

The props, too, are absurdly—ludicrously—fantastical. During her performance of the song “Cozy,” Beyoncé is accompanied by two massive dancing robot arms that tower over her, a nod to the face-framing ’80s dance move. That’s followed by a large chrome tank vehicle that the megastar sits atop, performing her 2020 remix of Megan Thee Stallion’s “Savage” while anchored to a pole. At one point, campy set pieces like massive cyborg boobs and gigantic robot legs in spread-eagle position make an appearance.

The show then shifts pace as Beyoncé sits perched like Aphrodite in a life-size, rotating translucent seashell. And then there’s the unforgettable finale that nearly broke the internet: Beyoncé straddles a disco-ball-sparkly horse (reminiscent of the one seen in the cover art of her Renaissance album) that lifts off from the main stage to hover above the nearest seating area. All the while, she’s belting her Grammy-award-winning “Summer Renaissance” ballad. It’s the ultimate Afro-futuristic fantasy.

Beyond the show’s larger-than-life props, it’s the set, ultimately, that plays the biggest role in the production. The massive circular stage at the center of the stadium operates at a scale so large that concert attendees in the nosebleed seats are also having an immersive experience. But of course, that’s exactly what you might expect from Devlin.

You’ve undoubtedly seen a Devlin design, even if you didn’t recognize it. The British designer who got her start in theater design in the mid-1990s has worked on an estimated 380 projects, masterminding the stage for Adele, Lady Gaga, and the Weeknd, as well as sets for the Royal Opera House in London, displays at the Super Bowl, and installations for Cartier and Saint Laurent.

Devlin wrote on Instagram that, working alongside Parkwood Entertainment , an entertainment and management company founded by Beyoncé herself, they spent more than a year and a half “constantly sketching the evolving ideas for the Renaissance tour.” Then, meeting with Beyoncé, she recalls how their creative vision further evolved. “As Beyoncé read her poetic lockdown film scripts to us, the show’s three-hour, six-act structure began to emerge,” she wrote.

As with much of Devlin’s work, her vision lies in translating Beyoncé’s words and music into visuals that transcend the dancehall energy of the starlet’s iconic ballads through a range of references. Whether it’s the reclamation of rodeo culture for Black Americans through metallic cowboy garb or a critique of surveillance capitalism via robotic props—or the hardly subtle, gloriously bedazzling optics that are bursting with queer joy—it’s clear that Beyoncé sees her art as a way to do more than make catchy music. And when it comes to translating that to a broad audience, Devlin certainly knows how to bring that center stage.

Rachel Silva, the Assistant Digital Editor at ELLE DECOR, covers design, architecture, trends, and anything to do with haute couture. She has previously written for Time, The Wall Street Journal, and Citywire.

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Beyoncé’s Renaissance Tour: Unpacking the Symbolism of Queen Bey’s Disco Cowboy Wonderland

By Charlotte Collins

What do giant robot arms, a news desk, and an enormous horse sculpture have in common? They’re all currently traversing Europe with Beyoncé’s Renaissance world tour, which kicked off May 10 in Stockholm, Sweden. Following her album’s release last July, the Beyhive has been growing restless in the absence of any  Renaissance  visuals—which fans have come to expect from the songstress after her groundbreaking visual albums  Beyoncé,   Lemonade, and Black Is King cemented the Grammy winner as a trailblazer of world-building within her artistry. She even  poked fun at the brewing discontent during an interlude in the concert: “You’ve asked for the visuals, you’ve called for the queen,” a voiceover with accompanying text read out on the big screen. “But a queen moves at her own pace, b*tch, decides when she wants to give you a f*cking taste. So get your fork and spoon, if you got one.”

Barring the official debut of videos fans have only seen in snippets and teasers thus far, Beyoncé ’s production design for the Renaissance concerts treats stadia of attendees on the 40-city, 57-show extravaganza to some of the most thrilling—and playful—wonders of the artist’s touring career. Equal parts retro psychedelic and chrome-futuristic, concertgoers  AD  reached out to agree that Renaissance looks to offer the singer-songwriter’s biggest-budget touring set yet. Stufish Entertainment Architects and Es Devlin Studio are to thank for the tour’s stage design (along with presumably plenty of input from Beyoncé herself, who is credited as director, executive producer, and creative director.)

Beyoncé wearing a metallic iridescent ensemble by Georgian designer David Koma on the first night of the Renaissance tour. She previously wore Koma’s designs to the 2020 Oscars. 

Rodrigo Fantini last saw Queen Bey at her On The Run II Tour in 2018. A Beyhive faithful, he attended the first two dates of the  Renaissance tour in Stockholm and will rejoin the party in a few months when she stops through SoCal. He described the production for the set as “crazy expensive.” Though AD could not confirm the production budget, Forbes claims that the Renaissance world tour could bring in as much as $2.1 billion. The publication estimates that ticket prices alone will net between $680 million and $2.4 billion (on the very high end), but merchandise sales are expected to inflate those figures further—Forbes projects those could earn the mogul approximately $171 million. By comparison, Beyoncé’s 2018 On the Run II Tour with husband Jay-Z grossed over $250 million, also per Forbes . Her last solo tour, 2016’s Formation, brought in over $256 million, according to The Hollywood Reporter .

“Of course she’s an amazing singer, I love her songs, but besides that I was really impressed by the visuals,” Fantini says. “I think this is the best done so far for her tours…. And I feel that they put a lot of effort into all the details that they have for each song, it feels like for each song there is something different going on.” Reportedly clocking in at roughly three hours’ run time, Renaissance has no opening act.

Seated in the near-stage Beyhive section on night one and in a further-flung seat on the second evening, Fantini felt the large-scale stage set translated well at both short and long distances. He described the aesthetic of the era—which more or less officially debuted in concert, without any music videos for fans to build off of—as “very futuristic.” Case in point, the singer dons multiple resplendent metallic looks throughout the concert and during her performance of the track “Cozy,” she dances to the beat in sharp staccato motions while flanked by two towering robot arms, roughly twice her size. Like the famed vogue face-framing flourish that became a hallmark of the ’80s ballroom dance culture she draws from in the album, the robot arms end in rectangular shapes that frame and move with the singer. “The choreography is based on the robot arms’ movements and that was really impressive because it has to be perfect timing,” Fantini says.

There are 22 lighting crew members and one overarching lighting designer for the Renaissance tour, per Beyonce.com.

One of the most eye-catching features for Fantini was a point near the end of the show during which Beyoncé straddles a disco-ball-sparkly horse (which he said came across as roughly horse-size, as opposed to a much larger bucking half-horse figure that appears at another time in the concert) similar to the one she’s seen on in the  Renaissance album cover, lifting off from the main stage to the Club Renaissance section seating nearby.

Robin Joris Dullers detailed the same “magical” moment at her later Brussels concert in similar fashion, recalling the vocalist as “an angel floating midair.” The horse remained on stage for attendees to snap photos with post-performance. Dullers had last seen Beyoncé in 2016 and says that compared with his previous experience, this concert “had definitely scaled up.” One set feature he felt was almost too gargantuan was a large metallic vehicle atop which she performs her 2020 remix of Megan Thee Stallion’s “Savage” before transitioning into “Partition,” a hit from her 2013 self-titled album. She raps and bounces to the beat while a pole jutting up from the car-like structure anchors her movements. 

By Alison Blanc

By Michelle Mastro

Beyoncé credits 20 dancers for the Renaissance tour on her website, including popular ballroom artist Honey Balenciaga.

Dullers found that feature was a bit uncharacteristic for the singer and “not Beyoncé style.” Though other fans disagree: Royal Williams attended the concert’s second stop in Brussels and found herself impressed by the set element, which she described as “a silver, kind of tank-like” structure onstage. She felt it nodded to low-rider cars and the hydraulics-powered hops they’re known for. The choreography for that point in the show combined with the silver vehicle felt reminiscent of a ride on a mechanical bull, to Williams, which could be a gesture to both Beyoncé’s own and “Savage” rapper Megan Thee Stallion’s shared Houston heritage. The metallics and robots of the show give it a futuristic vibe, but Williams interpreted features like the vehicle in alignment with the pieces of cowboy culture the singer has woven throughout this era (including the cowboy hat she wears in one of the few images released with  Renaissance, as well as the obvious: the album cover, which shows her atop a horse).

Despite differing fan reception to any particular elements of the show, it does appear Beyoncé is taking a more playful approach with  Renaissance. Though she’s sometimes seen as a mysterious figure for the distance and privacy she maintains in spite of her fame, the Grammy winner references her fan-bequeathed status as Queen Bee(/Bey) directly with a Mugler bee costume, dancing around a news desk to her fast-paced “America Has A Problem”—fitting, as the track incorporates beats similar to those used on television news to signify breaking updates.

Williams recalls previous concerts as very curated with good production value but says that more props were definitely incorporated into the  Renaissance  tour shows, upping the ante and making it worth the cost of admission as well as the voyage from Medellín, Colombia, to Brussels. Like Fantini, she’ll be stepping back inside the world Beyoncé has built out again when the tour makes its way to California. Her overall assessment of the show, in terms of its stage set: “The budget is definitely there.”

By Claudia Williams

By Michelle Duncan

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Beyoncé Unveils Celestial Poster for Renaissance Concert Movie

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“Get in formation,” as Beyoncé will be bringing her Renaissance tour to cinemas on December 1. To heighten every fan’s excitement, the pop star revealed the poster for the upcoming concert film, titled Renaissance: A Film By Beyoncé , clad in a futuristic ensemble.

According to the concert film’s synopsis, Renaissance: A Film by Beyoncé highlights the tour’s journey, “from its inception, to the opening in Stockholm, Sweden, to the finale in Kansas City, Missouri.” It is described as a concert film about the singer’s hard work and involvement during the production.

“Received with extraordinary acclaim, Beyoncé’s RENAISSANCE WORLD TOUR created a sanctuary for freedom, and shared joy, for more than 2.7 million fans,” the official synopsis reads. You can check out the poster below.

View this post on Instagram A post shared by Beyoncé (@beyonce)

Female artists dominate the music industry

Renaissance: A Film by Beyoncé comes after Taylor Swift ’s historic concert film, Taylor Swift: The Eras Tour , which managed to earn impressive box office revenue since its worldwide debut on October 13. On the other hand, Beyoncé’s Renaissance Tour also brought in more than $579 million in revenue, with millions of fans attending across 56 stops in 39 cities. And now, with Renaissance: A Film By Beyoncé looming closer on the horizon, Queen Bey is set to make another history.

Tickets for Renaissance: A Film by Beyoncé are now available for pre-order on the AMC Theatres website . You can also check your local cinemas or visit Beyoncé’s website . Most international markets will also begin selling tickets on November 9.

Meanwhile, the “CUFF IT” hitmaker previously released her Homecoming: A Film by Beyoncé on Netflix, which is available to stream now.

The post Beyoncé Unveils Celestial Poster for Renaissance Concert Movie appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

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Beyonce Confirms ‘Renaissance’ World Tour & Prepares To Hit The Road For 1st Time In 5 Years

Queen B will set out on a tour across the globe after her latest album 'Renaissance' was one of the biggest albums of the year.

The wait is over!  Beyonce   confirmed that she’s planning a 2023 world tour in an Instagram post on Wednesday, February 1. The “Break My Soul” singer, 41, shared a photo of a tour poster in the same style as her 2022 record Renaissance on Instagram , captioning it with the exciting announcement. “RENAISSANCE. WORLD TOUR 2023,” she wrote along with the photo.

Bey will hit the road beginning in May, and the tour will take her across Europe and North America. She listed the dates on her website . She’ll kick off the run in Stockholm, Sweden on May 10. The singer will end the European run on June 27 in Warsaw, Poland, but will only take a short break before the next leg begins in Toronto, Canada on July 8. The run will conclude on September 27 in New Orleans, Louisiana. Here are all the details you need about the upcoming tour.

When was Beyonce’s last tour?

The  Renaissance  tour will mark the singer’s first outing since her 2018 “On The Run II” tour alongside her husband  Jay-Z.   The co-headlining run came for the pair to promote their 2018 collaborative record  Everything Is Love , which they released under the name The Carters. The 48-show tour saw the two superstars bring their show to Europe and North America, beginning in Cardiff, Wales, and ending in Seattle, Washington.

The tour will also mark her first solo run since her epic 2018 headlining performance at Coachella, which was released as a live album and concert film Homecoming . Prior to the music festival performance, Bey’s last solo tour was the “Formation” world tour in 2016.

Ahead of the tour announcement, Beyonce did perform a special one-off concert at the luxury hotel Atlantis The Royal in Dubai in January. The 17-song private event was divided into three acts and had songs spanning her career and perhaps was a preview of what fans could expect on the tour.

Tickets & Presale

Ticket sales will begin on Monday, February 6 on Ticketmaster , per a press release from Live Nation. Fans can register for the “Verified Fan” presale now through Live Nation. There will also be Citi and Verizion Up presales for the concert event.

The tour will span over 40 dates in major cities across the United States and Europe. Here are The ‘Renaissance’ World Tour 2023 dates.

May 10 — Stockholm, SE — Friends Arena

May 14 — Brussels, BE — Baudoin Stadium

May 17 — Cardiff, UK — Principality Stadium

May 20 — Edinburgh, UK — Murrayfield

May 23 — Sunderland, UK — Stadium of Light

May 26 — Paris, FR — Stade de France

May 29 — London, UK — Tottenham Hotspur

May 30 — London, UK — Tottenham Hotspur

Jun 2 — London, UK — Tottenham Hotspur

Jun 6 — Lyon, FR — Groupama Stadium

Jun 8 — Barcelona, ES — Olympic Stadium

Jun 11 — Marseille, FR — Orange Velodrome

Jun 15 — Cologne, DE — Rheinenergiestadion

Jun 17 — Amsterdam, NL — JC Arena

Jun 18 — Amsterdam, NL — JC Arena

Jun 21 — Hamburg, DE —Volksparkstadion

Jun 24 — Frankfurt, DE — Deutsche Bank Park

Jun 27 — Warsaw, PL — PGE Nardowy

Jul 8 — Toronto, ON — Rogers Centre

Jul 9 — Toronto, ON — Rogers Centre

Jul 12 — Philadelphia, PA — Lincoln Financial Field

Jul 15 — Nashville, TN — Nissan Stadium

Jul 17 — Louisville, KY — Cardinal Stadium

Jul 20 — Minneapolis, MN — Huntington Bank Stadium

Jul 22 — Chicago, IL — Soldier Field

Jul 26 — Detroit, MI — Ford Field

Jul 29 — East Rutherford, NJ — Metlife Stadium

Jul 30 — East Rutherford, NJ — Metlife Stadium

Aug 1 — Foxborough, MA — Gillette Stadium

Aug 5 — Washington, DC — Fedex Field

Aug 9 — Charlotte, NC — Bank of America Stadium

Aug 11 — Atlanta, GA — Mercedes Benz Stadium

Aug 16 — Tampa, FL — Raymond James Stadium

Aug 18 — Miami, FL — Hard Rock Stadium

Aug 21 — St. Louis, MO — Dome at America’s Center

Aug 24 — Glendale, AZ — State Farm Stadium

Aug 26 — Las Vegas, NV — Allegiant Stadium

Aug 30 — San Francisco, CA — Levi’s Stadium

Sep 2 — Los Angeles, CA — SoFi Stadium

Sep 3 — Los Angeles, CA — SoFi Stadium

Sep 11 — Vancouver, BC — BC Place

Sep 13 — Seattle, WA — Lumen Field

Sep 18 — Kansas City, MO — Arrowhead Stadium

Sep 21 — Dallas, TX — AT&T Stadium

Sep 23 — Houston, TX — NRG Stadium

Sep 27 — New Orleans, LA — Caesars Superdome

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Renaissance World Tour Poster The Gift Beyonce

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Get your hands on the iconic Beyonce Renaissance World Tour Poster , a high-quality print featuring Beyonce’s stunning presence. Perfect for gifting or reliving the energy of the tour every day.

If you’re looking for a unique and thoughtful gift for Beyonce fans , look no further than this Renaissance World Tour Poster. It’s perfect for birthdays, holidays, or any special occasion. Not only is it a beautiful piece of art, but it’s also a symbol of the love and admiration that Beyonce’s fans have for her. Give this poster to someone special and watch their face light up with joy and appreciation.

OUR FEATURES

• Premium-quality products: We proudly use printer, poster papers and inks from EPSON.
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• Various sizes available: We offer a variety of sizes from 8 x 10” to 36 x 53”. Please don’t hesitate to reach out anytime if the size you are looking for is not shown from the drop down menu.
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Honey Gonzales Vogued Into Beyoncé's World. Now, She's Got Her Own Act II

By Sofía Sanchez

Photography by Sofía Alvarez

Destiny’s Child’s “Bootylicious” was the no. 1 song in the country on the day that Honey Gonzales, also known as Honey Balenciaga, was born to a Nuyorican mother and Honduran immigrant father in New York City. It was August 15, 2001, to be exact. (Yes, she’s a Leo, and on the set of her Teen Vogue shoot, yes, she is a Leo — effortlessly working the room, dancing around set, and commanding attention with a lighthearted touch.)

Twenty-two years later, Honey would vogue alongside Beyoncé on the Renaissance World Tour, helping Queen Bey highlight the queer roots of her genre-bending album, Renaissance . On and off stage, Honey was enkindling her own movement, inspired to pay flowers to her own roots and unexplored dimensions. As she grows as a person and performer, she’s expanding her own concept of who she can be and what she can do. She might even be falling out of love with voguing.

“I think the reason for that is,” she says, “I'm falling in love with so many different fields of creativity and artistry where it's like, vogue is not the only place where I could put my creativity.” Honey Balenciaga is ready for her own Act II.

Growing up, Honey studied jazz, contemporary, tap, and ballet. During the summers, she began learning how to vogue through a free program at The Door in Manhattan. Honey was raised in Brooklyn (“Don’t play with me,” she says as she gives me the rundown on her bodega order) and went to high school in Jamaica, Queens. In school, she focused her attention on acting; out of the classroom, Honey dug for underground dance scenes, like Jessica Alba’s character in the Honey film series, movies she binge-watched in her teens.

“I've always wanted to be in that position,” Honey says, laughing. “I was always that girl that found underground dancers and was looking for love and then did dance competitions.” (And no, she was never looking for love with Les Twins, addressing the internet rumors that she was supposedly romantically involved with Beyoncé’s beloved dancing duo while on tour.)

When Honey laughs, she cackles, often so freely that she ends up falling over in faux-drama. She cackles at silly things, reminding you that you’re in the same universe, on the same ground. You’re in on the joke, trying to hold in the laughter together at the back of the class.

Honey first found stardom in the New York ballroom scene for her martial arts-like stunts and spins. In the summertime, she and the voguing girls would often go to Pier 46, to have sessions and balls. One hot day, when she was at the pier with her trans-mother — as Honey refers to her motherly figure in the dance community — Honey began to vogue down.

“I did something crazy, I did a stunt, I did a flip… I was voguing,” Honey recalls. “And she was like, ‘B*tch, that was sweet. B*tch, that was sweet like honey. You're Miss Honey.”

In the drag and ballroom communities, performers come up with original characters and name their energies or personas. “You have the opportunity to be whoever you want to be,” says Honey. “And so this is how you introduce yourself.” Before finding her name, she considered going by Aurora, like the princess, or Ingrid, unique like “that’s what you are.” They never stuck. “I had two ballroom names because I didn’t know who I wanted to be.”

Honey has always known she could never be anyone but herself. She projects a softness, juxtaposed by a steely personality and a flirty, knowing smile; she reads as a modern-day Daisy Buchanan, graceful with her pixie cut, petite frame, and pink, femme spirit. Her name, too, sounds soft. While some may consider 22-year-old Honey a baby in the industry, the non-binary voguing diva, who uses she/her pronouns, is also recognized as an experienced mother by many. Though, if you ask Honey, she identifies as “c**t.”

Joining the House of LaBeija in 2017 and later co-joining the Houses of Juicy Couture and Balenciaga, Honey has been carrying the pseudo-surname Balenciaga for years. But, now, she says she fears that the name is pigeonholing her into one dimension of her persona. She’d like to respectfully let the public know that while she is a proud member of the House of Balenciaga, her birth surname is not Balenciaga, but rather, Gonzales. (Although, she notes, if Balenciaga would like to collaborate with her, she is available and awaiting her invitation.) She’s in the process of not only changing her Instagram handle, but also her legal name. While she chooses not to share her birth name, she’ll, soon, legally go by Honey Valentín Gonzales.

Before the Renaissance World Tour, Honey appeared on multiple seasons of Legendary , the Max series where voguing teams challenge each other to dance competitions for a chance to win a cash prize. But her career leveled up once she became a dance soloist for Beyoncé.

Honey remembers she was in the middle of her first New York Fashion Week when she first heard from Beyoncé’s team about the tour. Cosmically, or comically, the same day she had been invited to sit in her first “front row,” Honey would receive an even more exclusive invitation: a DM from Beyoncé’s team, saying they needed her in Los Angeles “ASAP” to audition the next day.

When she got the DM, she and her best friend were in Honey’s childhood bedroom, once decorated with Winnie the Pooh jars of honey; it’s the same room where she now sits in a black hoodie with glass skin and a beat face. Honey tells me that they read the message together and screamed out loud. “Okay, I have to literally leave in the next hour,” Honey told her friend, “And I left.”

That night, she flew to LA, returning to the same city the New York native moved to on her own when she was just 17. At the time, she was a teenager battling rejection, gender dysphoria, and body dysphoria She was also dealing with a father who didn’t accept her sexuality. Four years later, in late February 2023, Honey was back to audition for a tour dedicated to celebrating the queer community — she was also headed there with a mended relationship with her father. Honey believes in the power of prayer, “how destiny aligns right on time.”

The timing was important. Honey left the audition thinking she hadn’t booked it. To pile on, a day later Tennessee Gov. Bill Lee signed a ban on drag shows in public spaces, as well as a ban on gender-affirming healthcare for youth in the state. “Me and friends spoke on the phone on how tragic it is that a law like that can pass after years of fighting,” Honey says, “and how important this moment would be for any queer dancer auditioning for the spot.”

Days later, Honey was rehearsing for the tour, having learned both the male and female in order to maximize her chances of getting the spot. Honey debuted on Beyoncé’s catwalk at the first show of the world tour in Stockholm. In the next 24 hours, hundreds of reaction videos to her performance would garner thousands of likes and views on TikTok , X, and YouTube.

At 22, Honey has completed a world tour with one of the most successful entertainers in history, made a name for herself in the New York ballroom scene, as well as the national community, modeled in major fashion campaigns, and signed deals to two major talent agencies. Now, Honey’s a fashion girl, but if you ask her to try her hardest to remember what New York fashion show she was invited to sit in the front row for the same day she was asked to audition for Beyoncé, she can’t recall.

What she and millions of others do have etched in their minds is Miss Honey crawling down the Renaissance Tour’s stage steps before beginning to death drop and duck-walk up and down the catwalk to the song “Pure/Honey.”

Honey says she still dreams vividly about the moment. “I see the crowd,” Honey says, “I see the stadium. I see everybody. Sometimes it’ll be me voguing, coming down the steps, and I can see myself. Sometimes it’s me, actually, in my body…One time, I dreamt about me actually doing the cat crawl again. I guess I just thought about it so much that I just kept reliving that moment in my dreams.”

And she’s already served as a bit of inspiration for Beyoncé’s children. Fans know from viral TikToks that the Renaissance dance crew was an important support system for Beyoncé’s oldest daughter, Blue Ivy Carter , to confidently perform onstage for the first time. “I love Blue. I think Blue, for all of us, she was like a little sister for sure,” says Honey. “Blue would have her friends around and they loved me.”

In Renaissance: A Film By Beyoncé , there is a scene where Beyoncé’s daughter, Rumi Carter, is captured duck-walking and voguing in front of Honey. “I'm like, oh my God, what is happening right now? Beyoncé's walking towards me. Her daughter and her friend are voguing in front of me. This is insane.” Honey says Beyoncé apologized and told her how the kids were big fans of her. In the moment, all Honey could produce as a response was gratitude, thanking Beyoncé and telling her that the love meant everything. “Rumi literally vogues everywhere. Duck-walk is her favorite,” says Honey. “I was like, what? Not they watching my videos.”

Dancers are not often appreciated as star performers a la carte, Honey says. After all, they are usually referred to as “backup” dancers, dismissed as beautifully-trained props that help reinforce the power of the main act by mimicking or accenting their steps.

The Renaissance World Tour was different. “I felt recognized like a star. I felt so appreciated. Being one of her dancers is very, very hard,” she says. “You have to push through it.”

For Honey, standing on the Renaissance stage was not just a personal accomplishment, but a powerful statement of visibility and representation. “I am a living testament to the resilience, pride, and defiance of queer people,” says Honey. “We fought for too long to take steps back.”

In August 2023, O’Shae Sibley , a known member of New York City’s ballroom community, was killed during a stop at a Brooklyn gas station with friends. Playing Renaissance from inside the car, Sibley got out to vogue along to the music; Sibley was then accosted by a group of young men yelling homophobic slurs, and one of the men fatally stabbed him.

Although Honey did not know Sibley personally, she was familiar with him — he had attended some of the events she had hosted in the city. Since Honey was one of the few dancers on tour that hailed from New York’s ballroom community, word of Sibley’s murder reached her through local Facebook ballroom group chats before it became mainstream news. Honey says she was the one that notified Beyoncé’s team about the alleged hate crime. Later, Beyoncé’s website would honor Sibley with a post that said, “Rest in Power, O’Shae Sibley.”

Although Honey was healing from an ACL tear that happened while touring, she still decided to attend one of the many protests that followed Sibley’s death in New York to vogue in honor of his life — she says that she was not going to miss the opportunity to tribute Sibley.

It’s a mindset she’s taking into her next era — always following her heart, determined to be herself, to never be swayed by people who might wish her or her community harm.

Creatively, Beyoncé has inspired Honey to tap into her own artistry, an intentional shift that inspired Honey to dye her pixie cut from blond to jet black. Beyoncé gave multiple dancers, including Honey, time on stage to be appreciated as individuals. During the Renaissance World Tour, Honey says her solos matured each night, growing darker, more sultry, and more feline-like with every performance. “I’ve always wanted to get into my sexy, dark, grown, fashion era,” says Honey. “This is my restart, my new era.”

Honey is modeling, rolling out her own video series called Hidden Gems , as well as recording original ballroom/house music albums. Most importantly for her, she’s working on garnering acting opportunities, the art she originally studied and wanted to focus on in high school.

“Vogue is just the fire inside of me that is fueling all of that creativity,” says Honey. “I want to be able to do it all and be able to say that a voguing b*tch did it. Yeah, a voguing b*tch did make it on the cover. A voguing b*tch did get to teach a class. A voguing b*tch did perform with Beyoncé. I did that. She did that.”

And although Honey tells me she knows nothing about a possible tour for Cowboy Carter, she feels she’s “saving her body for something.” She adds, “If she calls your girl, I’m coming.”

Photo Credits

Photographer Sofía Alvarez

Light tech / Digi Tech James Joseph O’Brien

Stylist Scott Shapiro

Stylist Assistant Emma Lerch

Makeup Artist Laramie

Hair Stylist Olivia Mairead

Design Director Emily Zirimis

Designer / Production Liz Coulbourn

Associate Visuals Editor / Production Bea Oyster

Sr. Fashion Editor Tchesmeni Leonard

Associate Fashion Editor Kat Thomas

Assistant Fashion Editor Tascha Berkowitz

Editorial Credits

Editor-in-Chief Versha Sharma

Associate Director, Culture P. Claire Dodson

Culture Editor Kaitlyn McNab

Contributing Editor Alyssa Hardy

Associate Director of Audience Development and Analytics Mandy Velez Tatti

Sr. Social Media Manager Honestine Fraser

Social Media Manager Jillian Selzer

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Positively jax, beyonce’s dance co-captain goes back to her jacksonville elementary school, inspires next-generation.

Melanie Lawson , The Morning Show anchor

JACKSONVILLE, Fla. – The students and staff at Pine Forest School of the Arts were abuzz with excitement as they welcomed a special guest back to their halls. Amari Marshall, a former student and dance co-captain on Beyoncé's Renaissance World Tour, returned to her elementary school, bringing with her an aura of greatness.

MORE: Jacksonville native who graced the stage with Beyoncé hits Tinseltown to watch Renaissance film | River City Plus: A dance deep with Amari Marshall

Amari, who performed alongside Queen B’s daughter, Blue Ivy, earned her spot not just for her remarkable skill but also for her ability to connect with people. This unique ability was on full display as she engaged with students and staff at Pine Forest, accompanied by Laura Hammock, the dance teacher who had recognized her potential many years ago.

“I didn’t know she was going to be a star,” Hammock reminisced. “But when she was in my second-grade class, I gave her the main part,” Hammock said.

She remembered Amari performing an Alvin Ailey piece with a white umbrella, a moment still vivid in Amari’s memory.

“I just remember being so scared, but the passion and emotions made me connect with the dance immediately,” Amari said.

Amari’s mother Tiffany remembers that performance as well.

“To see her come out with a little umbrella, doing ‘Wade in the Water,’ was breathtaking. I looked and thought, ‘Oh my god, she is a star,’” she said.

That dance planted a seed that would grow to take Amari around the world.

After graduating from Sandalwood, she and her mother moved to Los Angeles with just $14,000 to their name.

“We went broke, but we were determined,” Tiffany recalled.

In L.A., Amari faced numerous rejections but persevered.

“Being Black, dark-skinned, and plus-sized in the entertainment industry is tough,” she said. “But the successes were huge: choreographing for Janet Jackson, Ciara, TV appearances, ad campaigns.”

Despite her global success, Amari remains deeply connected to her roots.

“Sharing is caring. I want to show these kids that we can really do this,” she said, reflecting on her motivation to give back to her community.

A significant influence in Amari’s life was her brother, Andre, who inspired her to dance.

Tragically, Andre passed away in a car accident in June 2023. During a Renaissance Tour show, Beyoncé paused for a minute in his honor, and Amari took center stage, dedicating her performance to him.

“I feel happy to dedicate everything in his name. If you know about Amari, you’re going to know about Andre,” Amari said.

Despite her grief, Amari pushed forward, driven by her family and her brother’s spirit.

“Everyone thought I might leave, but my family and Andre’s spirit kept me going. This is our testimony,” she said.

Amari’s visit to Pine Forest School of the Arts not only highlighted her incredible journey but also served as an inspiration to the next generation of students. Surrounded by enthusiastic children, she encouraged them to dream beyond their immediate surroundings, proving that with passion and perseverance, anything is possible.

The family is hosting Dre Day Block Party at Nexus Creative Hub, located at 1824 North Pearl Street in Jacksonville.

The event will be the ultimate celebration of all things Dre. Attendees can look forward to a day filled with music, food, and fun. The event will take place on June 29, 12 p.m. to 6 p.m., and there is a $10 entry fee. Tickets can be purchased here: Eventbrite - Dre Day Block Party .

View this post on Instagram A post shared by Amari (@amarimonster)

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Melanie lawson.

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How ‘Cowboy Carter’ Changed My Life: Shaboozey, Brittney Spencer and Tiera Kennedy on Seminal Beyoncé Album

'Cowboy Carter' has not only been a historic effort for the singer, but it has put a spotlight on rising Black acts in the country genre. As Bey puts it: "When I see Shaboozey tearing the charts up and all the beautiful female country singers flying to new heights, inspiring the world, that is exactly what motivates me.”

By Mesfin Fekadu

Mesfin Fekadu

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When Beyoncé ’s “Texas Hold ‘Em” hit the top spot on Billboard’s Hot country songs chart, she became the first Black woman to achieve the feat in the chart’s 80-year history. The tune blending elements of country, Western music , pop and soul reigned supreme for 10 weeks as her Cowboy Carter album emerged as a cultural piece of art that sparked think pieces about Black artists reclaiming the genres they created to social media essays about Queen Bey’s next-level greatness and virtuosity. 

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Now, Shaboozey has a Top 5 album on the pop charts with his third project, Where I’ve Been, Isn’t Where I’m Going , and he is a shoo-in best new artist Grammy contender. Part of his success can be attributed to “the Bey-effect.” Other breakthrough newcomers featured on her historic album — including Brittney Spencer , Tiera Kennedy , Tanner Adell , Reyna Roberts and Willie Jones — have also benefited, from earning first-ever placements on the Billboard charts to soaring streaming numbers and an expanded social media presence. 

“When you are breaking down barriers, not everyone is ready and open for a shift. But when I see Shaboozey tearing the charts up and all the beautiful female country singers flying to new heights, inspiring the world, that is exactly what motivates me,” Beyoncé tells The Hollywood Reporter in a statement. 

On Cowboy Carter , Shaboozey appears on “Sweet Honey Buckin’” and “Spaghetti,” which also features country music pioneer Linda Martell , the first Black woman to perform solo at the Grand Ole Opry whose legendary career is getting more attention thanks to her double appearances on Queen Bey’s album. Jones lends his vocals to “Just for Fun” while Spencer, Kennedy, Adell and Roberts harmonize on a Paul McCartney-approved cover of The Beatles’ “Blackbird.”

For Kennedy, who moved to Nashville eight years ago and has worked as a songwriter behind the scenes, being part of Cowboy Carter came at a significant time in her career.

“For me it’s so much deeper than the numbers. It was a change for my entire life. A few months before [ Cowboy Carter ] happened, I was dropped from my record deal, and I was on this trajectory of having the career that I had always dreamed of and then that was such a bombshell for me,” she explains. “And literally, immediately after the album came out my social numbers shot up. Ever since then, it’s been steadily growing and people are finding me and finding my music. And it’s been really cool, because I think this is coming at a very pivotal time for my career.”

“Beyoncé inspired me to make an album that is true to me. She’s given me this freedom to put out music the way I want,” she says of the project, expected to be released in October. “Before I was trying to make an album that was commercially acceptable instead of making an album that was true to me. I describe my sound as R&B/country and I was a little scared to really dive into that, because I thought I had to be in this one lane. But then Beyoncé comes with this project that has obvious influences from so many different spaces, but country at its core is storytelling. And that is what she’s doing in this album — it is most certainly a Beyoncé album and it inspired me to create a Tiera album.”

Spencer has been rising on the country music scene and has impressed with her awards show performances, from last year’s CMA Awards alongside Mickey Guyton and Madeline Edwards with a song honoring Black hair to April’s CMT Awards with Parker McCollum, which was full of passion and went viral on TikTok . Her debut album, My Stupid Life , was released in January and even made Rolling Stone ’s Best Albums of 2024 So Far list, published last week. And she’s predicted to earn a Grammy nomination for best new artist.

She moved to Nashville 11 years ago and loves the boost Beyoncé has given her.

Outside making history for other acts, Cowboy Carter is continuing to make history for Beyoncé, with some music experts predicting the piece of work could finally win the artist with the most Grammys in Grammy history the coveted album of the year trophy next year.

It has reached the No. 1 spot on the all-genre Billboard 200 albums chart, as well as the country and folk charts. The album, with more than 1.5 billion streams worldwide, set records on Spotify and Amazon Music and debuted at No. 1 in 17 countries.

But Cowboy Carter has also sparked conversations and for Beyoncé, that’s more important than going multi-platinum. “There was a time in my life when charts and sales excited and motivated me. Once you have challenged yourself and poured every ounce of your life, your pain, your growth and your dreams into your art, it’s impossible to go backward,” Beyoncé says. “I’m very grateful and humbled for the extraordinary success of the new album.”

“I think that it’s done something interesting in country [music] as a whole. I feel like it’s broken apart [things] in country music [and] I don’t think we’ll ever go back completely to how Black country was perceived before this,” Spencer adds. “I feel like it cracked the creative code for a lot of us, and it’s really cool to watch that happen for me and other artists as well.”

Kennedy feels it, too. In addition to “Blackbird,” she joined Spencer, Roberts and Adell as background vocalists on Cowboy Carter’ s “Tyrant” — “I kept joking that we were channeling our inner Destiny’s Child,” she reveals, laughing. But, seriously she says, working on the album with the other breakthrough acts has created community amongst them.

“Really through this journey we’ve gotten closer and it’s been really special to see how all of this has affected their careers, and even the artists outside of this project,” Kennedy says. “I remember watching an interview recently with Shaboozey — to see that [success] happening for a Black man in country music is absolutely insane. And I think it’s exactly what Beyoncé intended to happen with this project.”

For Spencer and Kennedy, they are also hoping to pass the torch in country music to the young Black and Brown girls behind them like Beyoncé has done.

“Thank you, Bey, for making a really thoughtful and musical project that has opened doors for a lot of people, many of which we won’t know probably for years from now.”

For Beyoncé , Cowboy Carter is a continuation of the work she did with 2022’s Renaissance , which blends dance, house, disco, R&B and hip-hop and incited discussions about the history of dance music and its origins in Black art and culture. “I’m honored to introduce so many people to the roots of so many genres. I’m so thrilled that my fans trusted me. The music industry gatekeepers are not happy about the idea of bending genres, especially coming from a Black artist and definitely not a woman,” Beyoncé tells THR .

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Why are there so many murals in St. Petersburg? A brief history

• Gabrielle Lazor Times staff

ST. PETERSBURG — The Sunshine City boasts an eclectic art scene. But residents no longer have to visit popular downtown spots like the Dalí Museum or the Museum of Fine Arts to appreciate visual masterpieces. With more than 500 public murals, St. Petersburg has become an explosion of spray paint.

Street art wasn’t always appreciated. It was often associated with graffiti, which is illegal, whereas murals are commissioned with owners’ approval. The 21st-century mural movement is an outgrowth of and response to graffiti.

“Taggers almost never would tag a mural artist’s work,” said John Collins, the former executive director of the St. Petersburg Arts Alliance.

These days, there hardly seems to be a bare brick around Central Avenue.

St. Pete’s public art renaissance blossomed in the early 2010s. At a time when the city wasn’t as developed and was considered relatively affordable, local artists gravitated toward the historic 600 block of Central. It proved to be an ideal spot for up-and-coming creatives.

Most of the buildings on that block were going to be demolished to make way for new development, but former City Council member Leslie Curran worked to provide inexpensive studio spaces for creators instead.

“We put artists in there for five years at $5 a square foot,” said Curran.

From there, murals began spilling onto the back alleys. The spray paint had a snowball effect. Murals started decorating storefronts, brightening side walls and cobblestone paths.

“With the 600 block, all credit is truly due to two artists, in my opinion. That’s Derek Donnelly and Sebastian Coolidge,” said artist and lifelong St. Petersburg resident Laura “Miss Crit” Spencer. “They are truly the grandfathers of our mural scene in St. Pete.”

Spencer gives walking mural tours throughout downtown. Of the 30-plus displays along her route in the Central Arts District, “I talk about no less than seven of (Donnelly’s) pieces... and that’s in a three-block radius,” she said.

One of his designs, on the east side of the Morean Arts Center, is a grinning Tyrannosaurus rex with a fishing pole, which is meant to represent St. Pete’s retirees enjoying life to the fullest. Two blocks down, on the rear wall of Florida CraftArt, Donnelly and Coolidge collaborated on a towering figure awash in fluorescent blues and purples.

Around the same time as the 600 block’s resurgence, Pat Jennings began stocking his art supplies store, originally called Central Art Supply Company, with vital materials. Later renamed the Arts Supply Store, creators mourned the closing of the 2429 Central Ave. shop in 2017.

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“Pat was the first person to start selling spray paint in the city of St. Pete,” said Spencer, who also used to work there. If he liked artists’ mural ideas, he would provide them with paint to decorate the side of his store. “That was kind of the first wall that we started seeing, people ... throw something up. It would stay up for maybe six months or a year, and then another artist would (repaint).”

One of the first commissioned murals in St. Pete was painted on the rear wall of what was then the State Theater, now called The Floridian Social, at 687 Central Ave. N. The Vitale Brothers, Tes One and Pale Horse designed an electrifying teal-and-orange image to help visiting bands spot the back door from the road.

Another reason St. Pete has become a sprawling outdoor gallery is the Shine St. Petersburg Mural Festival, presented by the St. Petersburg Arts Alliance. Since 2015, the annual festival has invited local, national and international artists to transform bare walls into massive works of art. Nearly 170 murals throughout downtown and the surrounding art districts are a result of the festival.

“(St. Petersburg) is funky. You can feel the creativity here,” said Jenee Priebe, the director of Shine.

Compared to neighboring cities, St. Pete had significantly fewer restrictions when it came to launching a mural festival, according to Priebe. Many people have asked her how they can start something similar in their communities.

“Oftentimes, they run into so many approval issues,” she said. ”The highest levels of their city government have to approve every piece of art. And it’s so restrictive and so time-consuming, that it’s not feasible for most people to do what we’ve done here.”

The city of Clearwater hosted its first Art Oasis Mural Festival in March. They asked artists to present three designs in advance, and then property owners chose one.

At St. Pete’s festival, muralists have full creative expression. Most mural artists make a living by doing commissioned projects for businesses, so an opportunity like Shine is rare, especially in a public setting. The arts alliance tries to stay out of the process as much as possible to “honor each of the individual artists’ voices.”

Shine began under former Mayor Rick Kriseman, who helped champion the arts.

“St. Pete has made it really easy. There’s no permitting or approval processes that are needed for any private property. And even on city property, they make it relatively simple,” said Priebe.

St. Pete, in its funkiness, has a history of celebrating all kinds of art. The city has several world-class museums and dozens of active galleries. But murals are special — they’re impossible to ignore. The panoramic images immerse viewers in a dazzling scene of colors and shapes.

“It’s sort of like a gateway drug into the rest of the art community because it’s just such a visible sign that this community cares about art,” said Priebe.

Brick canvases proclaim the story of a community transformed by art.

Gabrielle Lazor is a life and culture reporter. She can be reached at [email protected].

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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