She collaborated with the pop artist Jeff Koons-known best for his massive mirrored balloon animals constructed in stainless steel-who turned her into one of his Gazing Ball sculptures for the album cover then, its photograph was spliced with pieces of Botticelli’s famous Renaissance painting, The Birth of Venus.
This meant commingling her pop aesthetics with fine art, past and present. The goal was to channel Andy Warhol, only with one essential difference: “Instead of putting pop onto the canvas, we wanted to put the art onto the soup can,” she told the UK telecom company O2 in a promotional interview ahead of the album’s release. “Come to me with all your subtext and fantasy,” she sings on the title track.
#STARSTRUCK LADY GAGAG FULL#
Although full of her own experience and pain, she invited personal projection from listeners eager to co-opt. It’s an unruly prototype for the polished and hopeful Chromatica but maintains an enduring fanbase who relish its sludge of sonic and theoretical ideas. The album plays with the friction between vulnerability and persona, object and agent, trauma and ambivalence over a glutted EDM backdrop. Six years later, the album buried under personal career highs like her in-studio kinship with Mark Ronson and Oscar nominations, she tweeted, “i don’t remember ARTPOP.”Īt the time, Gaga was guarding herself against the music industry’s intentions for her as she tried to reconcile her status as both the public-facing vessel of a creative hivemind and a singular visionary. Later, she suggested greed and doubt: “I was not enough for some people,” she wrote to fans on her Little Monsters forum. A week before ARTPOP hit the shelves, Gaga split from her longtime manager, Troy Carter, citing creative differences. There were also creative and business tensions happening behind the scenes.
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