Kanye West’s “All Day/I Feel Like That” Video: Watch

26 Jul 2015 | Author: | No comments yet »

Kanye West and Steve McQueen Debut ‘All Day/I Feel Like That’ Video at LACMA Gathering.

“I don’t think we need any introductions,” said Los Angeles County Museum of Art director Michael Govan. “Since Kanye has sold about 32 million albums, and Steve won the Academy Award recently.” He was, of course, referring to Kanye West and Steve McQueen, who were at LACMA on Friday night (July 24) to preview “All Day/I Feel Like That,” a nine-minute video that will be on view at the museum for just four days (July 25–28). After a screening of the video, Govan led an uninhibited discussion between West and McQueen that sometimes descended into madness, but always transcended a normal art talk. The gathering was almost completely unannounced, and Govan told me that the exhibition itself was hastily organized, having been brought to him by UTA art division’s Josh Roth a few weeks before. While many roll their eyes when West co-opts a Grammy mic to deliver some incoherent egomaniacal rant, just as many cannot wait to hear what he does next. West is known for collaborations with high-profile artists, notably Takashi Murakami on the animated Good Morning video and George Condo, who did the cover for My Beautiful Dark Twisted Fantasy.

The video had its world premiere in March, at Foundation Louis Vuitton during Paris Fashion Week, but it has not been shown since then — though a six-minute bootleg version is on YouTube. Govan started by touching on the fact that McQueen’s career began as a fine artist, even winning the Turner Prize, a prestigious annual prize given to an English artist by the Tate Gallery, before going onto direct the Oscar-winning 12 Years A Slave. LACMA owns a McQueen work, called Static (2009), in which McQueen circles the State of Liberty in a helicopter. “And Kanye’s no stranger,” said Govan. “Walking around the galleries together [with Kardashian].” “I got this call at home a few years ago, and it was Kanye West on the phone,” said McQueen of their initial contact. “He had visited a show of mine at the Schaulager Museum in Basel [Switzerland], and he wanted to talk to me about the show. The second conversation was two hours and 15 minutes.” The conversations continued until a bit of serendipity found the both of them shopping at Rei Kawakubo’s London concept store Dover Street Market.

Shot entirely in an empty loft space with a desaturated palette and natural soft lighting, the video features West in widescreen format, dancing, dodging and weaving through All Day, a song about going from the streets of Chicago’s South Side — West was raised in the suburbs — to the big time, and doing it his way. “Let me run to see who came undone,” he raps. “You’ve been right in my face. West asked McQueen to start filming in five days. “He’s one of my favorite artists — he came to our wedding also,” said West. “Some people have told me, ‘He’s the first African-American [director] to win an Oscar.’ I said, ‘He’s not African-American actually. As in a meeting between the bull and the matador, it remains uncertain who chases whom.” There is a spontaneous quality to the footage, which really documents a semi-energetic performance.

It’s a new ‘art world.’ The combination of what Steve did with all of his films — there were multiple films that I connected with on a high level. I feel like I’ve been abducted by aliens to even be able to sit next to Steve in an art context, because so many times we’re put in a pop context. When asked by Govan how he keeps the experimental spirit alive in his multifarious activities, West responded: “You have to bring your dreams into reality. There has been no word yet on when SWISH will drop, but a July 8 Reddit feed included a fan who posted what he claimed was a low-quality recording of the entire album including tracks such as Always, with Bruno Mars; All Day, featuring Allan Kingdom and Theophilus London; Can You be Real, with Big Sean; and the rumoured collaboration with Paul McCartney, Piss on Your Grave. I went to the Venice Biennale with [artist] Vanessa Beecroft, and I went to an exhibition at Palazzo Fortuny [the former home of early 20th century Italian artist Mariano Fortuny].

Floor after floor, [the guide] talked about all the things he was interested in — he was a painter, and he was an opera designer, he was a clothing designer, and he was a merchant. It’s cool.’ But right now, it’s super easy just to f— with people, because people are so closed-minded: ‘You’re a rapper, so you can’t possibly fathom the size of a dress.'” The talk turned to the collaboration itself. And I am.” After the audience’s laughter died down, McQueen then praised West’s songwriting on the slower, more introspective second song: “When I first heard it in the studio, I was touched. And also, [West being] a Black man, it’s beautiful.” Govan asked West if he was trying to capture a range of emotions. “I think it’s just being a Gemini,” West quipped. “Just embrace being a hypocrite.

The hardest thing for me is everyday when I see [my daughter] North learn anything about the world that doesn’t allow her to be as expressive as she’d like. I’m like, ‘I feel you.'” Govan tried to steer the conversation back to vulnerability. “I think the future is being more beautiful,” said West. “I think in the future people will understand color. Both me and my wife have an extreme form of beauty, whether it’s her visual beauty or my sonic beauty, where we were able to penetrate and gain a lot of listeners, and now we have a responsibility to educate ourselves, and change the perception of the idea of what celebrity is.” He recalled being at the Louvre, and realizing that people had a negative preconception of Los Angeles, despite its merciful weather and easy ways. “It might be a better lifestyle,” he said. “You know the star [bus tours]?

Nike put a Swoosh on top of the darkest Black man jumping from the free throw line, and created the power of the Swoosh, but it was really inside of Jordan, and transferred that energy to Nike. We’re nothing but a blip in civilization, and we’re too busy worrying about the wrong things, when we have all the means here to create a human utopia.

Everything that hits the press is about taking some hero that you love and bringing them down, taking some dream that you thought of and bringing it down. Let’s start with truth, and let’s build a community upon it.” Finally, he made what amounts to as much of an explanation for West’s gift for steering conversations down strange paths as we may ever get: “I go onto these rants that don’t make any sense, but I think they’re way more beautiful, so I don’t give a f—,” he said. Guests included Liz Goldwyn, rapper Theophilus London, Thao Nguyen of CAA (who reps Steve McQueen), and UTA’s Jim Berkus and Josh Roth, as well as art world notables Shaun Regen, Anne Ellgood, Christopher Williams and Cole Sternberg. The evening was presented by Neuehouse, a stylish shared working space that will expand from New York to Hollywood in October, in association with UTA Fine Arts.

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