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The Simpsons has long been in touch with the zeitgeist, but recently the show has been dipping its toes into the art world with more regularity. In this week’s episode, “Uncut Femmes” (Season 32, Episode 17), Marge is hosting a “Gen Gala” watch party, which apparently includes some A-level gays.
Little does Marge know, there’s another plan in the works, as she ends up as part of an Ocean’s 8-inspired female crime gang trying to swipe a jewel from the gala at the Museum of Generational Wealth — oh yes, they did. And that’s the biggest gag. The museum is clearly fashioned on the Metropolitan Museum and its popular Met Gala, a celebration of wealth, celebrity, and brand tie-in more than anything else.
Like most cartoon gags, the jokes aren’t deep, but “generational wealth”? Accurate.
Past museums featured in The Simpsons include the Springfield Museum of Natural History, which advertised “Now With Multi-Ethnic Cavemen,” and the Springfield Museum, with the slogan “Truth, Knowledge, Giftshop.” The show has also nodded to the Springfield Folk Art Museum, Springfield Palace of Fine Arts, and even well-known IRL museums like the Peabody Museum of Natural History and the Best of the Smithsonian.
This Met Museum spoof is even funnier than the time Futurama imagined the Museum of Modern Art in the future as the Museum of Really Modern Art and returned it to its original building in 1939.
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.