![]() ![]() ![]() Similarly, the Carters’ “Apeshit,” along with their new album, will be doubtlessly met with dissonance. ![]() Others argue for her agency, suggesting that she perhaps was very much in control and aware of her portrayal. Some have questioned the agency of the black woman subject and whether or not she was exoticized by the artist, her subjugation reified - take, for example, the baring of her breast or the scarf on her head. As the Carters lay claim to the galleries in one of the art world’s most-esteemed institutions, they insert black cultural signifiers not often depicted on such levels of exaltation.Īnalyses, such as those outlined here, surrounding Benoist’s painting have been contested. There is much more beyond the synchronized dance moves, lavish looks styled by the likes of Zerina Akers and June Ambrose, and the subversive act of black bodies performing in front of art depicting predominately white bodies. They perform in front of some of the museum’s most-famed works, such as the “Mona Lisa,” Venus de Milo, and Louvre Pyramid.īut, like the Benoist portrait, this, too, can be allegorical. In the Louvre, they also appear to be in control - if only for the time that they have rented the space. Rarely are their family secrets, or upcoming albums or projects unveiled, and it is often noted that they are keen on having people sign nondisclosure agreements. ![]() The Carters are memorable for a lot of things, including the undeniable control of their narrative. Perhaps the Carters have also presented an allegory, in which a hip-hop music video by the industry’s most-coveted couple becomes much more than a pop culture moment, and rather a piece of art on its own terms: one that makes room for critiques of systemic power structures, like entertainment and art itself, which are often muddled with instances of misrepresentation of black people or the lack of representation completely. (Though its subsequent reinstatement should also be noted, as slavery was not fully abolished until 1894 in France.) “Portrait d’une femme noir ,” Marie-Guillemine Benoist, 1800. The Musée du Louvre, where the video was shot and where “Portrait d’une femme noir” was acquired in 1818, describes Benoist’s depiction of the black woman in the painting as an allegory, perhaps representing the abolishment of slavery in France just six years prior. The portrait is the only selected work that solely features a black subject in Beyoncé Knowles-Carter and Shawn “Jay-Z” Carter’s “Apeshit,” the couple’s latest collaborative visual by director Ricky Saiz, which accompanied the surprise release of their duet album Everything Is Love. Nevertheless, she stares right back at the viewer, as if she is just as much aware of your presence as you are hers. She is aware that she is being looked at, and perhaps less aware of what the final image might look like. One hand is gently placed in her lap while the other lays across her torso. She has a white scarf wrapped around her head and a small hoop earring hangs from her ear. She is adorned in what appears to be a white sheath one of her breasts is bare. (The painting’s name means “Portrait of a Black Woman,” or “Portrait of a Negress.”) In an 1800 painting titled “Portrait d’une femme noir,” an unknown black woman sits for artist Marie-Guillemine Benoist. You can also see what we’re up to by signing up here. The archives will remain available here for new stories, head over to Vox.com, where our staff is covering consumer culture for The Goods by Vox. Thank you to everyone who read our work over the years. Pei in the museum's exterior.Racked is no longer publishing. The video, which dropped in June, featured the couple in front of the museum's most iconic pieces, including Leonardo da Vinci's "Mona Lisa," Jacques-Louis David's "The Coronation of Napoleon," and the ancient Greek statue "Winged Victory of Samothrace." Jay-Z also rapped in one scene in front of the famous glass pyramid designed by I.M. "Elsewhere in the world, interest in the Louvre was bolstered by the Louvre Abu Dhabi (which recently celebrated its first anniversary)," Louvre staff said, "and by Beyoncé and JAY-Z’s 'Apes**t' video, with its tribute to some of the museum’s greatest artworks." The museum's staff credited the huge boost in visitors to the recovery of tourism in Paris after the 2015 terror attacks, as well as a big exhibition devoted to Romantic artist Eugène Delacroix.īut they also paid credit to the Carters. That's the most visitors ever to any museum in a year. Some 10.2 million people visited the museum in 2018, about 25% more visitors than in 2017, officials at the Louvre announced Thursday. It was one of 2018's most memorable music videos, and now the Louvre says Beyoncé and Jay-Z's "Apeshit" is also partly responsible for the famed Paris museum welcoming a record number of visitors last year. ![]()
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