The Outside Meets the Institution
The Carters' “Apeshit” Video
Bibliographic Data
| ID | 7097820 |
|---|---|
| Authors | Jenny Gunn (0000-0002-7473-8812, corresponding author), Gunn Gunn |
| Year | 2019 |
| Volume | 11 |
| Issue | 1 |
| Pages | 385-385 |
| Publication date | 2019-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Black Camera (JOURNAL) |
| Journal identifiers | ISSN: 1536-3155 • E-ISSN: 1947-4237 |
| Publisher | Indiana University Press (PUBLISHER • US) |
| DOI | 10.2979/blackcamera.11.1.21 |
| OpenAlex | W2983321426 |
| Language | EN |
| Citations received | 2 |
| References cited | 7 |
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 sociality incompatible with canonical archival methods. Instead, the genre of the contemporary music video emerges as a form of radical archival practice
Art · Institution · Political science · Anthropological Studies and Insights · Law
| Unique citing works | 2 |
|---|---|
| Citations per year | 0,5 |
| Citation span | 2022 - 2023 (2) |
| Citation velocity | historical |
| Highly cited | No |
| Citation types | Neutral: 2 |