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Camp taste has an affinity for certain arts rather than others.

Sunday / Nov 28 / 2021

Clothes, furniture, all the elements of visual décor, for instance, make up a large part of Camp. For Camp art is often decorative art, emphasizing texture, sensuous surface, and style at the expense of content.

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Concert music, though, because it is contentless, is rarely Camp. It offers no opportunity, say, for a contrast between silly or extravagant content and rich form. Sometimes whole art forms become saturated with Camp.

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Classical ballet, opera, movies have seemed so for a long time. More on this later.

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Not all, though. Not only is Camp not necessarily bad art, but some art which can be approached as Camp example: the major films of Louis Feuillade merits the most serious admiration and study.

All Camp objects, and persons, contain a large element of artifice.

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Nothing in nature can be campy. Rural Emulsie anti-imbatranire is still man-made, and most campy objects are urban.

Yet, they often have a serenity — or a naiveté — which is the equivalent of pastoral. Camp is a vision of the world in terms of style — but a particular kind of style.

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The best example is in Art Nouveau, the most typical and fully developed Camp style. Art Nouveau objects, typically, convert one thing into something else: the lighting fixtures in the form of flowering plants, the living room which is really a grotto. A remarkable example: the Paris Métro entrances designed by Hector Guimard in the late s in the shape of cast-iron orchid stalks.

As a taste in persons, Camp Diane Keaton despre crema anti-îmbătrânire Ellen particularly to the markedly attenuated and to the strongly exaggerated.

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The androgyne is certainly one of the great images of Camp sensibility. Examples: the swooning, slim, sinuous figures of pre-Raphaelite painting and poetry; the thin, flowing, sexless bodies in Anti-imbatranire anon scansoft Nouveau prints and posters, presented in relief on lamps and ashtrays; the haunting androgynous vacancy behind the perfect beauty of Greta Garbo. What is most beautiful in virile men is something feminine; what is most beautiful in feminine women is something masculine.

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For obvious reasons, the best examples that can be cited are movie stars. Camp sees everything in quotation marks. It is the farthest extension, in sensibility, of the metaphor of life as theater.

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Camp is the triumph of the epicene style. Life is not stylish. Neither is nature. The dividing line seems to fall in the 18th century; there the origins of Camp taste are to be found Gothic novels, Chinoiserie, caricature, artificial ruins, and so forth. But the relation to nature was quite different then. In the 18th century, people of taste either patronized nature Strawberry Hill or attempted to remake it into something artificial Versailles.

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They also indefatigably patronized the past. And the relation of Camp taste to the past is extremely sentimental. A pocket history of Camp might, of course, begin farther back — with the mannerist artists like Pontormo, Rosso, and Caravaggio, or the extraordinarily theatrical painting of Georges de La Tour, or Euphuism Lyly, etc.

The late 17th and early 18th century is the great period of Camp: Pope, Congreve, Walpole, etc, Diane Keaton despre crema anti-îmbătrânire Ellen not Swift; les précieux in France; the rococo churches of Munich; Pergolesi. Somewhat later: much of Mozart.

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But in the 19th century, what had been distributed throughout all of high culture now becomes a special taste; it takes on overtones of the acute, the esoteric, the perverse. Of course, to say all these things are Camp is not to argue they are simply that.

A full analysis of Art Nouveau, for instance, would scarcely equate it with Camp. But such an analysis cannot ignore what in Art Nouveau allows it to be experienced as Camp. This tells us something important about Art Nouveau — and about what the lens of Camp, which blocks out content, is.

Thus, the Camp sensibility is one that is alive to a double sense in which some things can be taken. But this is not the familiar split-level construction of a literal meaning, on the one hand, and a symbolic meaning, on the other.

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It is the difference, rather, between the thing as meaning something, anything, and the thing as pure artifice. To camp is a mode of seduction — one which employs flamboyant mannerisms susceptible of a double interpretation; gestures full of duplicity, with a witty meaning for cognoscenti and another, more impersonal, for outsiders. One must distinguish between naïve and deliberate Camp. Pure Camp is always naive.

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The pure examples of Camp are unintentional; they are dead serious. The Art Nouveau craftsman who makes a lamp with a snake coiled around it is not kidding, nor is he trying to be charming.