![]() Work with the communities around them, rather than separately from those communities.This especially applies to Black and brown women, the researchers argue. Commit to being places where all visitors feel comfortable.Encourage programs inside museums that differ from the stories museums have traditionally told.Critically consider the narratives in their galleries, with an eye toward how Black women are positioned as subjects, artists and viewers. ![]() Specifically, the researchers recommended that museum curators and art educators: ![]() I can make my own narrative in front of this narrative.’” This video is liberation it’s Beyoncé saying, ‘I don’t have any barriers. “Anybody who has the critical consciousness to know what kind of barriers Black people have can feel that in this video. “When you are a museum educator or a curator or anyone in this space, and you’re thinking about what to showcase and how to showcase, this video shows how important it is to be thinking about curation as a whole mind and body experience, not only as the placement of art objects,” said Joni Boyd Acuff, associate professor of arts administration, education and policy at The Ohio State University and co-author of the paper. In a paper published earlier this year in The International Journal of the Inclusive Museum, two researchers analyzed the video for The Carters’ song APES**T and discussed how its setting in the Louvre should inspire museum curators, educators and directors to make museums more inclusive. But, as the song's "can't believe we made it / this is what we're thankful for" refrain makes clear, it's simultaneously a celebration, a reclamation of cultural space, and a transformation of cultural space.A music video created by Beyoncé Knowles and Sean Jay-Z Carter and featuring them in Paris’ famed Louvre Museum ignited conversations about who have traditionally been invited to show their work – and interact with objects of art – in museums. It pays tribute to the historic struggles and sacrifices made by - or, more often, forced upon - the black community, as well as those injustices still apparent today (consider the scenes at 3:30 and 4:40 in the video juxtaposing protests and the #TakeAKnee movement). The video showcases highlights of the museum's collection to weave a narrative of black empowerment and excellence, as both a representation of and response to the artworks featured. ![]() (Let's hope there was a good mood board presentation involved?) "The deadlines were very tight, but the Louvre was quickly convinced because the synopsis showed a real attachment to the museum and its beloved artworks."Īnd let's be clear, "Apeshit" is a work of art itself. "During their last visit in May 2018, explained their idea," a Louvre spokesperson told Vulture. Also, the whole project was somehow kept totally secret! ![]() And sure, everything was love fine, because I mean, who had plans over the weekend anyway?! Oh, and on top of the nine track-long record (10 if you count bonus track "Salud," I suppose) Bey and Jay also debuted a video for "Apeshit," which they shot IN THE LOUVRE, having been granted private access to the museum for filming. Beyoncé and Jay-Z - or The Carters, technically - dropped a surprise album, Everything is Love, on Saturday night. ![]()
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