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When celebrities and fashion insiders descend upon the Metropolitan Museum of Art for the annual Met Gala on the first Monday in May this year, expect nothing less than a truly outrageous display of style, in keeping with the night’s theme, Camp: Notes on Fashion. The 2019 Metropolitan Museum of Art’s annual Costume Institute Benefit theme was inspired by Susan Sontag’s 1964 essay, Notes on “Camp,” an integral piece in not only establishing her as a cultural critic but also in tackling the slippery, difficult-to-define sensibility of camp. The essence of Camp, as Sontag describes it in the opening paragraphs of her essay, is “its love of the unnatural: of artifice and exaggeration.” Over the course of 58 very specific notes in the essay, Sontag sheds light on what makes something or someone camp, how camp functions as a verb and how the spirit of camp can and should be embodied — a tall task, especially when one considers that she traces its origins back to the 17th and 18th century with the rise of the les prĂ©cieux literature in France and rococo art in Germany, then successfully connects it to the then-contemporary queer culture of the ’60s, referencing everything from dandy intellectual Oscar Wilde to the 1933 movie King Kong along the way. Getty “Camp is a vision of the world in terms of style — but a particular kind of style,” Sontag notes with absolute assurance, despite the subjective nature of camp and style itself. “It is the love of the exaggerated, the ‘off,’ of things-being-what-they-are-not.” She extends her desire to define an ever-ambiguous sensibility further in other cogent missives about what Camp is and isn’t: “Camp is a solvent of morality. It neutralizes moral indignation, sponsors playfulness,” she asserts in note #52, while in note #24, she is quick to elaborate that “when something is just bad (rather than Camp), it’s often because it is too mediocre in its ambition. The artist hasn’t attempted to do anything really outlandish.” With Camp, it’s less of a delineation of what is good taste or bad taste, but a measure of the extent to which it commits
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