Here are a few of the Gaga-related posts that have turned up in my feed-reader over the past couple of months:
“Deconstructing Lady Gaga’s ‘Telephone’ Video”/Aylin Zafar/theatlantic.com
Herein lies the convenient Catch-22 Lady Gaga has created for herself. Much like Warhol, she has as much a part in feeding into pop consumer culture as she has in making a statement against it. Whatever product placement or triviality exists within her videos can be excused as art under the pretense of her participation in the pop art movement—whether “Gaga” as a product is really who she is or the product of a label is almost irrelevant when you consider that maybe she’s the modern-day Marcel Duchamp or René Magritte.
“Lady Gaga’s ‘Telephone’ – Observations and Discussion”/only words to play with
It goes without saying that the diner is a staple of American culture, and the fact that they chose this space to launch an attack signifies a coordinating attack (terrorism?!) against the mom-and-pop, cherry-pie side of America. Yet, once they have killed the diners, Gaga, Beyonce, and their posse do a dance dressed in outfits bearing the American flag, hippie garb, and lots of red, white, and blue. As if America is destroyed by America; the revolution is destroyed/followed by the revolution; America turns rabid on itself.
“The Splendid Rot of Fame”/Ben Woodard/Naught Thought
Lady Gaga’s approach to pop clearly recognizes the double short circuit of fame – the short circuit of the meaningless and the meaningfull and the short circuit between the intentional and the accidental. This two procedures are carried out by LG in her simple act of going crazy before she actually did – where the popular psychological explanation of the odd behaviors of celebrities (Spears’ shaved head, MJ’s everything, and any other eccentricity) is often that fame got to them, LG simply smashes the two together – the pursuit of fame itself is maddening and always already mad.
Gaga Stigmata: Critical Writings and Art About Lady Gaga is a new technological breed of journal that intends to take seriously the brazenly unserious shock pop phenomenon and fame monster known as Lady Gaga.
Berg’s work, like Lady Gaga’s video, sets up a series of allegories in which Berg puts the narrator into certain animal skins, such as the fox and the deer…
“Lady Gaga & the Dead Planet Grotesque”/Jason Louv/h+
At once very human and also indistinguishable from the inhuman culture machine that promotes her, she is the perfect evolutionary advance, designed to outlive the cockroaches themselves. She is a successful gray alien hybrid, stripped of all human emotion or compassion, a thing made to flourish in this grim, mechanical age.