The Essence of Camp: Unpacking Its Influence on The Met Gala
In her 1964 essay, Susan Sontag delved into the intricate realm of camp, defining it as an aesthetic sensibility characterised by intentional exaggeration, a deliberate departure from norms, and the utilisation of bad taste as a vehicle for artistic expression. This concept, as outlined in her seminal work “Notes on ‘Camp,'” presents camp as both ostentatious and elusive, encompassing elements of artificiality, fervour, and seriousness.
Sontag’s exploration of camp extends to a wide array of cultural artefacts and figures, ranging from Art Nouveau objects to iconic personalities like Greta Garbo, Warner Brothers musicals, and Mae West. Despite its seemingly spontaneous nature, camp can also be meticulously planned, blurring the lines between spontaneity and calculation.
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Over time, interpretations of camp have evolved, with contemporary thinkers like Bruce LaBruce expanding Sontag’s framework to encompass modern references such as ‘Twilight’ and political figures like Sarah Palin. Nevertheless, Sontag’s original treatise remains a foundational text in grappling with the complexities of camp as a cultural phenomenon.
As the Met’s ‘Camp: Notes on Fashion’ exhibition unfolded, a select few were welcomed into its curated world of camp aesthetics. The broader question arises: what constitutes camp in our own experiences and perceptions?
The leisurely pace of a summer day at Camp Firewood, where age becomes fluid and unexpected interactions unfold, to the chaotic and surreal adventures depicted in a day’s journey within the camp’s confines.
The essence of the camp lies in its ability to blur boundaries, challenge conventions, and embrace the unconventional with a spirit of playfulness and irony. It’s a realm where the absurd and the sublime coexist, where ordinary moments can transform into extraordinary experiences, and where the line between high art and kitsch blurs into delightful ambiguity.
-Sushmita Sarkar