The American culture of violence is inseparable from our identity, says James C Wright , while the image of a blood-stained Trump reminds Rev Robert Titley and Roy Stewart of classic artworks

Your editorial on Donald Trump’s shooting ( 14 July ) neglects to mention the long history of violence that has characterised life in the US since its founding. It’s a violence against the perceived other, the violence of slavery and the Indigenous inhabitants of the Americas, the violence against workers as a product, the violence of capital that creates violence against authority.

You might well have mentioned the history of state violence overseas: from the so-called Spanish-American war through Vietnam and much of south-east Asia and Central America to Iraq and Afghanistan and the ongoing violence in Gaza and the West Bank.

Son and grandson of the painter unveil exhibition of her work to restore her place in cultural history

She was a painter, he was a sculptor. They worked side by side, describing their marriage as “a 64-year conversation about art”. They influenced one another’s work and regarded one another as equals – but today, Anthony Caro is a household name while Sheila Girling is all but forgotten.

This weekend, however, the ­couple’s son, Paul Caro, and grandson, Ben Caro, hope that’s about to change. They’ve been ­instrumental in helping to organise a comprehensive exhibition of her work: more than 90 paintings and collages go on display at the Bowhouse community space in St Monans, near St Andrews, Scotland (to 1 September, with a break in August – see spacetobreatheexpo.com for details).

From yarn bombers to doll modifiers to wood turners, this joyous show – put together by Hetain Patel and Artangel – features 14,000 pieces by diehard hobbyists in one giant gleeful celebration of personal creativity

Since February, artist Hetain Patel has been gathering hobbyists from across Britain. Quilters, cosplayers and nail-art innovators. Mosaicists, ceramicists and chain-mail linkers. Doll modifiers, wood turners, scrapbookers and yarn bombers. Collectors of postcards, figurines and carrier bags.

Patel’s exhibition, Come As You Really Are, is a wittily choreographed display of a dizzying 14,000 loaned objects. A long countertop performs as a battlefield to Warhammer figurines, lead soldiers, Star Wars fighters and other tiny fantastical warriors. Across them, Cindy dolls and their dogs stride like Biba-clad colossi. A tiny diorama dressed with greenery from a model railway displays modified acrylic nails, micro origami and thimble-sized ceramics. Quilts, weavings and embroideries hang in obeisance around a Ford Escort clad in swirly carpeting.

Painting, concealed inside one of his well-known works, emerged during work for exhibition celebrating northern art

An unseen self-portrait of one of the most popular northern English artists of his generation has been discovered hidden on the back of another painting.

The discovery of a new work by Norman Cornish – arguably the most famous artist to emerge from the north-east of England in the 20th century – was made during preparations for a big show of works by him and another titan of northern art, LS Lowry.

Gallery apologises for ‘any hurt and distress’ as two artworks withdrawn from Young Artists’ Summer Show

The Royal Academy of Arts (RA) has removed two works inspired by Gaza from its Young Artists’ Summer Show after an open letter from the Board of Deputies of British Jews raised “significant concerns” about their content.

In a letter posted on X this week, a board vice-president, Andrew Gilbert, described three works on display at the gallery as containing “antisemitic tropes and messaging”, which had caused “significant concern to members of our community”.

The forthcoming game is a nostalgic exploration of a city in summer. Its creative director explains how it helps players to feel they are making the world more beautiful

How do you make painting fun for those without an artistic bone in their body? Game developers have come up with a few answers – or at least, they’ve tried. There’s the straightforward approach of something like Mario Paint , where players are handed a mouse accessory and creation tools similar to Microsoft Paint. In Ōkami, a painter’s brush is used as a weapon and a magic wand in a Zelda-like world. In The Unfinished Swan , the world (and the story) are gradually revealed by the player’s spattered ink.

Forthcoming painting game Été is less about the process of making art on a canvas, and more about making players feel as if they are making the world more beautiful. It lets you make art without any of the friction. “Like lots of games, Été fulfils a fantasy through role playing, the fantasy of being a painter – and to do so, we assume your avatar is already a talented painter,” says creative director Lazlo Bonin. “Painting in Été is not about skill, it’s about creativity and enjoyment.”

Été is out on PC on 23 July.

Sainsbury Centre, Norwich
While undeniably powerful, this show of often horrifying photographs from global conflicts and crises needs more context and a more questioning approach to their takers’ status as truth-tellers

At the entry, there’s a wall smattered with some of the most shocking photographs ever taken. In these images, which belong to The Incite Project collection, mankind’s capacity for evil is magnified and feels immutable, an unfathomable sea of carnage and chaos. Ticking every trigger warning box, these famous photographs – mostly taken by white, foreign photojournalists – depict global conflicts and crisis : Kevin Carter’s Pulitzer-prize-winning The Vulture and the Little Girl , the definitive image of the famine that devastated South Sudan in the 1990s; Malcolm Browne’s photograph of a Buddhist monk shortly after he set himself alight , in protest against the South Vietnamese government in Saigon.

The latter is another Pulitzer-prize-winner, published in papers, on postcards and on Rage Against the Machine’s debut studio album in 1992 . There is also Richard Drew’s The Falling Man , the image of someone plummeting from the World Trade Center after the 9/11 attacks, a shot that came to represent the fall of America. Here too is the photograph of two-year-old Alan Kurdi, washed up on the Turkish shore. There is an inescapable sensation of an unequal world, of wordless, senseless brutality.

With a dip in the art market and only one in five artists exhibiting their work in a museum, those on the outskirts are grappling with how to preserve their legacy

Painter Renzo Ortega had been thinking a lot about creating a plan for what to do with all the artwork he had accumulated over his 25-year artist career. A storage room in his native country of Perú and one in North Carolina where he lived were already packed with hundreds and hundreds of paintings. Each embraced different artistic styles, from folk art to expressionism and pre-Hispanic patterns, including vivid landscapes and pieces that captured the realities and contributions of Latin immigrants like himself to US life.

Life is short and unexpected, he reflected on the evening of his 50th birthday, death being the only truth for an artist as they age, and “nothing guarantees that what an artist produces will generate monetary success or cultural recognition,” he told the Guardian. Something was certain: “If a gallery hasn’t represented me at 50, it never will.”

Bessie MacNicol was a brilliantly talented artist but, as a woman, she had to go to Paris to paint nudes. Now, after a sensational acquisition, this leading light of the Glasgow Girls is finally getting her day in the sun

About 15 years ago, I was being shown around Glasgow’s Kelvingrove Art Gallery by an eminent art historian. When we got to the section on the Glasgow Boys – James Guthrie, John Lavery et al, late 19th-century pioneers of the school of naturalistic, plein air painting – I asked a question: where were the Glasgow Girls? The historian practically laughed in my face: didn’t I realise that the Glasgow Boys was an art movement? And they were all men: there were no women.

Today, no one doubts the existence of the Glasgow Girls. A few days ago, the National Galleries of Scotland in Edinburgh took possession of one of the loveliest works of the women who worked alongside the men at the Glasgow School of Art in the final years of the 19th century.