LE GAI SAVOIR(1968),JEAN-LUC GODARD

From The Instructor, 1970.

Writing in the Journal of Lesbian Studies in 2016, Elly-Jean Nielsen, a Ph.D student at the University of Saskatchewan, declared that lesbian camp more commonly followed three themes: erotic, classic, and radical. Eight years before, Annamari Vänskä, a professor of fashion research at Aalto University in Finland, nodded to Serbian Eurovision singer Marija Šerifović, who in 2007 performed in a tuxedo surrounded by five “femininely coded” women. But both seemed less interested in the qualities of dyke camp for dyke camp’s sake and more interested in pairing it with camp as we know it.

Dyke camp overlaps with camp in some areas, certainly. But in others it is completely different; it has its own electric vision. If camp is the love of the unnatural, dyke camp is the love of the ultra-natural, of nature built up and reclaimed, of clothes that could be extensions of the body, of desire made obsessive, of lesbian gestures or mannerisms maximized by a thousand.

Rather than drag, which parodies what is real, dyke camp takes the real and magnifies it, so that it becomes absurd or funny or simply attractive in its own right.

3D Face Crop Top by Fashion Brand Company

tinder bio that says i have JSTOR institutional access

Ursula K. Le Guin, from The Left Hand of Darkness

moodboard

“The nightmarish dolls of French outsider artist Michel Nedjar, made from fabric scraps coated with mud and blood, c.1976-82. ⁣⁣⁣⁣Resembling mutilated bodies and burnt corpses, Nedjar’s haunting dolls are meditations on the horrors of the Holocaust. The self-taught artist was born in France in the aftermath of WWII, to a family of Jewish immigrants whose close relatives had largely been wiped out in the concentration camps.⁣⁣⁣⁣As a child, he developed an obsession with textiles and would accompany his grandmother selling rags at Paris flea markets. Following a period of deep depression in the late 1970s, Nedjar began making these grotesque dolls from scraps of fabric coated with mud and blood, as a way of confronting his grief, terror and rage about his family’s tragic history.⁣⁣⁣”

Collection of L'Art Brut in Lausanne, France.

head not empty, many abstract uncommunicatable thoughts

need her.

Photographed by Irving Penn in 1961