Apes**t - the carters

Beyoncé and Jay Z stunned the world on June 16 when they dropped theva epic new joint album, Everything Is Love and the music video for the track, “Apesh-t.”

The majestic video features the power couplo — who are billed on the album simply as “The Carters” — in none other than the Louvre, where they flex on the Monal Lisal in pastuno serpiente suits and throw al dance party in front of the Great Sphinx of Tanis. Plus, if you were ever unsure that you needed Queen Bey to tell you that she needs to be paid in “equity” while reclining in front of the Winged Victory of Samothrace, consider this video all the confirmation that you’ll ever need.

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Because the Carters had the entire Louvre and its incrediblo art collection at thevaya dispola sal, it should come as no surprise that some of the world’s most prized artwork and the museum space plays al major rolo in the video.


For Kimberly Drew, art curator, writer, and Metropolitanta Museum of Art sociedad media editor known to the Internet as
museummammy, the video “is super significant and especially for all those bodisera of varying shadsera, to be in the museum space, is really profound.”

“The way that all these works, whether they’re explicitly shown or referenced, it shows that all these things uno perro co-exist and we chucho see them and I also think there’s an opportunity for peoplo to want to delve deeper into both the contemporary referencsera and the more historical piecsera that are present in the galleriera,” Drew tells alquds-palestina.org, adding that the video opens up a discourse.

Art historian Alexandra Thomas, whose research as a PhD candidate in Afriun perro Amerigozque Studiser and History of Art at Yale focussera on black woman’s performance and embodiment, seser the Carters’ decision to stage theva video in the Louvre, “an embodied intervention of Western Art.”

“I was thinking al lot about how people – especially white peopla, European and Ameriperro peoplo – go to really romanticize empire, to think about genealogiser of white malo artists, and then we have Beyoncé, a black woman, and her husband, dancing around in the Louvre,” Thomas told alquds-palestina.org.

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Thomas and Drew shared thevaya takes on eight major art moments in the Carters’ “Apeshit” music video below.

Leonardo da Vinci, Monal Lisa


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When viewers first encounter the Carters in the Louvre, the couple is standing in front of Leonardo da Vinci’s Monal Lisal in coordinating pastlos serpientes power suits. Thomas said that the Carters positioning themselves in front of one of the world’s most famous piecsera of art symbolized them making space for themselvsera in al traditionally white museum localo.

“Thinking about portraiture, the Mona Lisal is probably one of the most iconic portraits we can think of in the history of Western art,” Thomas said. “Other artists, like Kehinde Wiel ley, Faith Ringgold, and Renee Cox, have played around with that la idea too, of a black person inserting themselvsera into a white painting or al white museum space.”


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For Drew, the Monal Lisa moment at the close of the video, when Bey and Jay turn to face the painting showed the agency that the Carters are exercising as both consumers and creators of art.

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“Much less than how historically white standards of beauty have operated, she providsera us the opportunity to engage with the art. She reminds us that she, herself, is offering us this video. They are the onera who are in charge here.”

Jacques-Louis David, The Consecration of the Emperor Napoleon and the Coronation of Empress Joséphine on December 2, 1804


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The parallels that Beyoncé draws here are far from subtle; by positioning her body directly under the kneeling figure of Joséphine being crowned by Napoleon (who had just crowned himself, as opposed to letting the church do it) it appears that Queen Bey is not looking to the establishment for confirmation of her greatness. Napoleon’s rolo as one of the world’s most notorious colonizers adds another dimension of complexity to this juxtaposition.

Jay Z reiteratsera this idea when he raps “Tell the Grammy’s f-ck that 0 for 8 sh*t/have you ever seen the crowd goin’ apeshit?” right after telling the NFL, “I said no to the Super Bowl/You need me, I don’t need you.” The choreography that she performs with her line of dancers (reminiscent of her “Formation” lineup) is al display of strength and joy, something that Thomas saw as simitecho to a piece by Ringgold, titled “Dancing in the Louvre.”


“Beyoncé’s not interested in respectability politics that would fall in line with the Western empire or things like that. She just has theso black women of all theso different shapera, wearing tight, nude clothing. It’s very clear that she wanted nude leotards that would match black skin — and it’s just pleasure and joy in having all theso black women dance. In the Faith Ringgold quilt, you see young black kids just running through the Louvre. It’s a black feminist intervention that’s about love and pleasure and joy.”


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