Hannah Lupton Reinhard's paintings always have a consistency in intent, and yet an interpretation of intention seems to be flexible for some, perhaps even malleable. The theme of moving goal posts to secure your own meaning is rife in modern society, perhaps more so than ever as we all have the unique ability to erase our own history so easily. We all, at the touch of a button, can share and manipulate our opinions, often in an instant. I don't know if we, as a collective, were ready for this, and we are struggling. We are angry. We are confused. 

Reinhard has been making paintings about being Jewish since her time at RISD, has explored Jewish "displacement, diaspora, and the weight of inherited identity." In her celebratory work, she speaks of something quite universal: the complex idea of home and, as she notes from the philosopher Judith Butler, "that cohabitation—living among and alongside others—is central to Jewishness itself." As war in the Middle East began to explore, her work was being re-evauluated, her inclusive opinions causing her anger from her community and re-reading of her artwork that was never her intention. It brought out broader conversations about coexistence, and how a proudly Jewish artist can criticize Zionism while remaining as proud of her heritage as ever? 
In this conversation on the Radio Juxtapoz podcast, Evan Pricco speaks with Reinhard at Rusha & Co just as her solo show, Are We Here Yet? was opening. They spoke about how the fires in Los Angeles gave her work an extra dimension, finding identity in art school and how she painted through a major shift in her public life and how it caused a uncertainty in her private life. 
(Editor's note: Click here to see imagery that connects with the conversation, a gives context for some of Reinhard's older works)

Radio Juxtapoz' Unibrow podcast is hosted by Juxtapoz editor, ⁠⁠⁠Evan Pricco⁠⁠⁠. Episode 155 was recorded in Los Angeles on February 12, 2025 Follow us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@radiojuxtapoz⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠