Jenny Gunn
Biographic Data
| ID | 4587869 |
|---|---|
| NAME | Jenny Gunn |
| GIVEN NAMES | Jenny |
| FAMILY NAME | Gunn |
| SIGNATURE | GUNN J |
| ORCID | 0000-0002-7473-8812 |
| VERIFIED | Yes |
| TOTAL WORKS | 1 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 1 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2019 |
| LATEST PUBLICATION YEAR | 2019 |
| H-INDEX | 1 |
The Outside Meets the Institution
Using the figure of the anamorphosis, this essay explores the critical labor of the music video for The Carters' "Apeshit" (Ricky Saiz, 2018, United States). By playing off the canonical artefacts of the Louvre collection, "Apeshit" stages a stunning array of lessons in contrast, thinking through blackness in relation to ontology, capitalism, and aesthetics. With "Apeshit," The Carters claim blackness as an aesthetic and affective force of social…
The Outside Meets the Institution
Using the figure of the anamorphosis, this essay explores the critical labor of the music video for The Carters' "Apeshit" (Ricky Saiz, 2018, United States). By playing off the canonical artefacts of the Louvre collection, "Apeshit" stages a stunning array of lessons in contrast, thinking through blackness in relation to ontology, capitalism, and aesthetics. With "Apeshit," The Carters claim blackness as an aesthetic and affective force of social…
The Outside Meets the Institution
Using the figure of the anamorphosis, this essay explores the critical labor of the music video for The Carters' "Apeshit" (Ricky Saiz, 2018, United States). By playing off the canonical artefacts of the Louvre collection, "Apeshit" stages a stunning array of lessons in contrast, thinking through blackness in relation to ontology, capitalism, and aesthetics. With "Apeshit," The Carters claim blackness as an aesthetic and affective force of social…
Anthropological Studies and Insights (1 works) · Art (1 works) · Institution (1 works) · Law (1 works) · Law (1 works) · Political science (1 works)