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A “now viral Twitter thread laying out evidence that the rapper’s embrace of America’s right wing may just be a pre-planned piece of performance art. If you didn’t see the thread itself, perhaps you read about it on Slate or Mashable, or at Pigeons and Planes, where its author, a man named Spencer Wolff (@Snowcone965
on Twitter) further elaborated on his theory, much of which originated on the popular Kanye/rap message board Kanye To The. (That is also where the members of Brockhampton first met. Choose your heroes wisely.) Wolff’s thread is long and labyrinth. It centers around the idea that West has made allusions on social media to performance artists David Hammons, Joseph Beuys, and Andy Kaufman, as supported by a “creative” named Tremaine Emory. In particular, Wolff focuses on two things: Hammons’ repeated use of spades in his work in an effort to, as Wolff quotes from an uncited texted, “turn racist clichés on their head,” and West and Emory’s tweeting of spade emoji; and a Beuys performance from 1974 in which he locked himself in a room with a coyote for three days. Beuys, who was German, titled his performance “I Like America and America Likes Me,” with the generally understood reading being that Beuys was making a statement about confronting and taming America’s ills.
In Wolff’s analysis, Kanye’s wearing of the Make America Great Again hat is his version of the spade, while the Trump-era conservative movement would be the “coyote” with which he is locking himself in a room in order to confront.” (Jordan Sargent, spin.com)
#heykanyeaintcrazy #methodacting #farceart #behindthecurtain #kanyeforpresident #takeacloserlook #kanyecredit