Apeshit: A Symbolic Connection Between Classical Art and Pop Culture
Download
Read an extract
Themes
Beyoncé, Jay-Z, Apeshit, music video, cultural appropriation, artistic expression, classical art, pop culture, Louvre, Paris, cultural commentary, law course
Reader
Abstract
Extract
of 5
Abstract
In this thought-provoking analysis, we delve into the meaning behind Beyoncé and Jay-Z's music video 'Apeshit', which sparked controversy and debate upon its release in 2018. The video, which privatized the Louvre in Paris, is a powerful statement on the intersection of classical art and pop culture, and the ways in which art can be reinterpreted and recontextualized. Written for a law course, this analysis explores the themes of cultural appropriation, artistic expression, and the role of art in society.
Extract
[...] Jörg Häntzschel's article also initially considers this privatization with certain reservations, which, however, disappear after closer examination and consideration of the video. While Stefan Trinks dismisses the content of the video with a laconic example, finding that its staging and dance insertions do not give the art history an appropriate tribute, ultimately degrading it to "bird droppings", Jörg Häntzschel finds it to have more qualities. It is not about suggesting a tour, a project that Stefan Trinks and the museum director fundamentally start with, but about presenting themselves and this art as "enigmatic-fascinating art figures". [...]
[...] Based on this juxtaposition, it is interesting to highlight and compare the arguments of the journalists. Of course, the artist couple has done something very provocative by appropriating the Louvre; "the Louvre [ . with its eternal values" is instrumentalized for the purpose of a pop music clip and a socio-political statement. For the director of the Louvre, this would be a useful project, as it should expand and rejuvenate the museum's audience; according to Stefan Trinks, however, this is by no means necessary, as the statistics in this regard are already extremely positive. [...]
[...] As "readable" for a more diverse audience, one can presume more of the true issue; it is still a leveling down, a decrease in the level of education. In fact, it was the video of director Ricky Saiz who proposed the selection of the artworks, not the Louvre. The museum only wrote explanatory comments for these images worthy of advertising. There is nothing to learn from this glamorous visit. The two stars standing in front of the Mona Lisa is the epitome of the absence of ideas. [...]
[...] Without that video, the song would probably be quickly overlooked and forgotten. The title of the song, 'Ape Shit', is nonetheless a sign of interesting self-criticism; were blacks once degraded as 'apes', Beyoncé and Jay-Z consciously take on these stereotypes to provocatively leave their mark in the temple of 'white' culture. This shows that the artists do not put their ego or works above art works of the past, but rather know the difference between pop music and visual arts. [...]
[...] The success story of the Carters seems to be no meaningful means to continue discussing lasting ethnic and social inequalities, especially since they are only spreading their economic wealth with the expensive privatization of the Louvre. Of course, the symbolic result is captivating for the audience that feels connected to this music. But is it not just a sad illusion? In conclusion, one must add that 'Apeshit' is not a truly great work compared to previous songs by the two artists; everything lies in the video, which really inspires classical art works with a new and popular energy. [...]
