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Controlling the Narrative: Beyoncé’s Pregnancy Photoshoot, Part 2

The Perceptions of Pregnancy blog, like the Researchers’ Network, aims to reach beyond boundaries and borders, and to facilitate an international and interdisciplinary conversation on pregnancy and its associated bodily and emotional experiences from the earliest times to the present day. This weeks post is part two of Chelsea Phillips’ conversation about Beyonce’s recent pregnancy photo shoot.

On 1 February 2017, Beyoncé Knowles-Carter announced that she was pregnant with twins on Instagram, sparking a social media frenzy. The initial image was quickly revealed to be part of a photo shoot by the artist Awol Erizku. In early April, I sat down with a group of friends and colleagues to discuss the shoot: art historian Tim McCall, performer and playwright James Ijames, and pop culture maven Ashley Leamon joined me.

What follows is Part Two of that conversation. You can read Part One here.

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Concealing and Revealing: Beyoncé’s Pregnancy Photo Shoot, Part One

The Perceptions of Pregnancy blog, like the Researchers’ Network, aims to reach beyond boundaries and borders, and to facilitate an international and interdisciplinary conversation on pregnancy and its associated bodily and emotional experiences from the earliest times to the present day. In today’s post Chelsea Phillips writes about Beyonce’s recent pregnancy photo shoot.

On 1 February 2017, Beyoncé Knowles-Carter announced that she was pregnant with twins on Instagram, sparking a social media frenzy. The initial image, laden with symbolism, was quickly revealed to be part of a larger, fully-produced pregnancy photo shoot by the artist Awol Erizku. In early April, I sat down with a group of friends and colleagues to discuss the shoot. The conversation ranged from its historical and contemporary artistic influences, to Beyoncé’s performance of pregnancy, identity, race, and culture; what follows is a partial transcript of that conversation.

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