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For the days when you don’t feel a sense of brotherhood, there’s Beyoncé. This graffiti piece popped up on Rue des Hospitalières Saint-Gervais in Paris’s Marais neighborhood in the spring, and it’s now slowly spreading across the web.
I normally assume this kind of visual wordplay on the streets is normally designed to make you chuckle, but some people choose to look deeper, like this Redditor (@mindfu):
In our current media-drenched class-based world society, instead of fraternity (literally brotherhood and sisterhood) we have the pale simulation of virtual togetherness, through the shared experience of corporate media creations like Beyonce. [sic]
Or maybe it’s a wink at Beyoncé’s deep faith in sisterhood … ahem, not brotherhood (which is what fraternité literally means in French).
For those who may not know, Liberté, Égalité, Fraternité [Liberty, Equality, Brotherhood], is the national motto of France and Haiti, both countries born out of revolution.
The works in Fault Lines prove that abstraction need not be confined to the inner life of the artist.
Celeste’s sculptures all rely on natural forces to achieve balance, and thus are perpetually on the precipice of collapse.
Romanticism to Ruin: Two Lost Works of Sullivan and Wright memorializes Chicago’s Garrick Theatre and Buffalo’s Larkin Building, which were razed to build a parking lot and a truck stop.
By reinventing the traditional bokashi technique, Hamanaka reminds us that nothing is dead, even when many proclaim otherwise.
The company’s mastery of the art market’s smoke and mirrors is its most impressive illusion.
Sadly, though by no means surprisingly, there is precedence for this female erasure. Women have been and continue to be the executors of the invisible, unpaid, unaccredited labor that makes much of the world run smoothly.