#camp art

[reprisearchive]

Female Trouble, Dir. John Waters.

[campyourstyle]

TONI BASIL by STEVEN ARNOLD in an unused concept for her 1981 album, "word of mouth."

[jareckiworld]

Allen Jones — Traditional Theme (oil on canvas, 1971)

[sterlingzbasket]

scared of the dark

Bunny belongs to @vampk1zzer

[rodrigoincolors]

#AWickedHalloween Day 17: Campy Horror Icons: Divine as Dawn Davenport in "Female Trouble"

I will forever defend early John Waters films as true horror masterpieces. For the audiences who witnessed their original screenings, it’s clear they provoked far more shock and disturbance than most mainstream, conventionally accepted horror movies ever did. That’s precisely why no other camp icon could fit this day better than Divine. And since Female Trouble is my favorite collaboration between Waters and Divine, it felt only natural to honor them through today’s piece.

Eu vou eternamente defender os primeiros filmes do John Water como verdadeiras obras de terror. Para quem estava lá para as exibições originais, é claro que eles provocaram mais choque que vários filmes convencionais e mainstream de terror. É precisamente por isso que nenhum outro ícone camp teria servido tão bem quanto a Devine. Já que Female Trouble é minha colaboração favorita da dupla Waters-Divine, é natural que a arte de hoje fosse em homenagem a eles.

[just-fashion-world]

Camp art examples as per Notes On “Camp” by Susan Sontag (published in 1964)

“The origins of Camp taste are to be found in the 18th century when relation to nature was quite different; people of taste either patronized nature or attempted to remake it into something artificial.”

Versailles

“[...] Camp is the attempt to do something extraordinary. But extraordinary in a sense, often, of being special, glamorous. (The curved line, the extravagant gesture.) Not extraordinary merely in the sense of effort.”

“A pocket history of Camp might [...] begin farther back -- with the mannerist artists [...], or the extraordinarily theatrical paintings [...]. Still the soundest starting point seems to be the late 17th and early 18th century, because of that period’s extraordinary feeling for artifice, for surface, for symmetry; its taste for the picturesque and the thrilling [...].”

Asam Church (St. Johann Nepomuk) in Munich - between 1733 and 1746 (baroque)

“The hallmark of Camp is the spirit of extravagance. Camp is a woman walking around in a dress made of three million feathers. Camp is the paintings of Carlo Crivelli, with their real jewels and trompe-l’oeil insects and cracks in the masonry.”

Carlo Crivelli - Madonna of the Passion - 1460

“[...] the swooning, slim, sinuous figures of pre-Raphaelite painting [...]”

Dante Gabriel Rossetti - How They Met Themselves - 1864

Edward Burne-Jones - The Beguiling of Merlin - between 1872 and 1877

“[...] the thin, flowing, sexless bodies in Art Nouveau prints and posters [...]”

Alphonse Mucha - Primrose and Feather - 1899

Alphonse Mucha - The Dance - 1898

“It [camp] is the love of exaggerated [...], of things-being-what-they-are-not. The best example is in Art Nouveau, the most typical and fully developed Camp style.”

Hector Guimard - Paris Metro entrances - late 1890s

“In Camp there is often something demesure [immoderation] in the quality of the ambition, not only in the style of work itself. Gaudi’s [...] buildings in Barcelona (most notably the Cathedral of the Sagrada Familia) are Camp not only because of their style but because they reveal the ambition on the part of one man to do what it takes a generation [...].”

Antoni Gaudi - La Sagrada Familia - construction started in 1882

[campyourstyle]

THIERRY MUGLER SS 1983

[campyourstyle]

WILL ROCKVILLE by KAREN STANLEY