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Last week, Pepsi released — and promptly scrapped — a commercial that simultaneously glamorized and trivialized protest movements and popular uprisings. The spot stars model Kendall Jenner as a model (so plausible!) who notices a passing demonstration and is moved to join it after a handsome protester makes eyes at her. She makes her way among the masses of supposedly pissed off yet smiling protesters, who brandish offensively inoffensive signs, grabs a can of Pepsi, and hands it to a police officer who takes a sip and smiles (presumably due to the relief of dealing with a such docile group of protesters). The demonstrators rejoice.
The ad was met with immediate ridicule and outrage, prompting remixes and responses — including by Martin Luther King Jr.’s daughter, Bernice King — that underline the vast differences between Pepsi’s depoliticized demonstration imagery and real protests as well as acts of state violence, from UC Davis’s Pepper Spray Cop and the Kent State shootings to Tiananmen Square’s “Tank Man.” Some have speculated that the ad was an elaborate troll, and that these types of reactions are exactly what Pepsi was hoping to provoke. Still, it’s hard to imagine how the company will benefit from its ad being likened to Dorothea Lange’s iconic image of destitute poverty during the Great Depression, “Migrant Mother” (1936).
— marisa kabas (@MarisaKabas) April 5, 2017
Kendall Jenner using a Pepsi to stop those tanks. So brave.
— Grumpy Granddad
(@Granddad_Sr) April 4, 2017
— 5 Star Antifa General (@FanSince09) April 4, 2017
— Gore Vidal Sassoon (@JimmyJazz1968) April 4, 2017
The new generation of artists and curators is eager to explore alternative organizations and to tackle current social inequalities and issues.
Her female nudes were extraordinary for the time because she portrayed female sexual desire. Her subjects defied conventional ideals of femininity.
No Vacancy, curated by Jody Graf, will be on view from October 26 through November 8 at the school’s Kellen Gallery in New York City.
Francis made over 10,000 artworks, starred in more than 100 solo exhibitions, and, in the late 1950s to mid-1960s, commanded the highest prices of any living painter.
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Over a century after Wright designed a workplace that borrowed features from the home, designers are at it again, but who does a homey office really serve?
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This week, the National Gallery of Art finally acquired a major work by Faith Ringgold, the director of The Velvet Underground talks film, North America’s Hindu Nationalist problem, canceling legacy admissions, and more.
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