Everybody that hates on Kanye West’s new video is missing the point. It’s intentionally bad and made to look cheap, because it’s playing with the stereotypes of white American pop culture. Riding into the sunset on a motor bike with the girl, through the most recognizable landscapes of the west. The only thing out of place is Kanye—notice how the music abruptly changes as soon as Kanye comes onto the screen? That’s why he premiered it on Ellen, one of the whitest show in America, to spark up all the attention he’s received.
Look at his old, extremely well-made music videos. He’s not an idiot. He knows when his green screen background looks awful and when his video is ridiculous. People think they have such keen critical eyes by pointing out the video is bad, when really Kanye West is just playing everybody. Oh yeah—and the album is brilliant.
tl dr: shut up about Kanye West, he’s self-aware.
The Quality of Light
Irene Rice Pereira, Quadrangles in Two Planes, 1945, oil and glass on board, 29 ½ x 19 in.
The Art Institute of Chicago
Irene Rice Pereira was an American modernist who, after becoming interested in the Bauhaus and Russian Constructivism, began painting abstract art in 1937. As her career progressed, she became involved with the Design Laboratory of the Federal Art Project of the Works Progress Administration, both as a program creator and as an instructor. Modelled after the Dessau Bauhaus, the program offered comprehensive education in modernist design by coordinating the study of esthetics, industrial products, machine fabrication and merchandising. It was here where Pereira began experimenting with different materials such as ceramics, glass and textiles. Interested in the use of the transparent properties of parchment, plastic and glass in the creation of three-dimensional depth, Pereira’s layered glass paintings became her signature artistic style.
A writer on philosophical ideas, Pereira was fascinated by concepts such as structure, time, and optics. Her work dealt heavily with the properties of light and its interaction with color in an attempt form representations of space, matter and time. In Quadrangles in Two Planes, Pereira has arranged a maze of rectilinear forms - geometry considered by her to be the structural representation of pure thought - on layers of glass. Though consisting mostly of primary colors, the heavy black forms stand out and give structure to the seemingly random assemblage of forms. Looking closely, one sees that the geometric forms are not painted entirely in solid colors, but rather in small, intricate patterns, the tiny spaces allowing varying flow of light through the painted forms. The layers of glass give not just the illusion, but real depth to the flat pieces, Pereira’s attempt to display qualities of light and time and perhaps, as it has been suggested, the physical representation of a fourth dimension.