————Contextual—Theory

On Photography — Susan Sontag

The Power of Images: Photography shapes our perception of reality. One might reflect on how the ubiquity of images today, especially through social media, influences our understanding of the world and ourselves.

Ethics of Viewing: Sontag questions the morality of photography, particularly in terms of suffering and voyeurism. This can lead to reflections on the ethical responsibilities of both photographers and viewers in documenting and consuming images of trauma.

Memory and History: Photography’s role in preserving memories and history is another key theme. Reflecting on this might involve considering how photographs can both reveal and obscure the truth, shaping collective memory.

Aestheticization of Reality: Sontag argues that photography can turn reality into a set of aesthetic objects. Reflecting on this, one might consider how the aesthetic framing of images affects their meaning and our engagement with the world.

Reflections on documentation—

The job of pre modern painting, to log reality, was transferred to the photo when Louis Daguerre went on to develop the daguerreotype process, the first publicly announced and commercially viable photographic process. The daguerreotype required only minutes of exposure in the camera, and produced clear, finely detailed results. Now that every smartphone keeps a documentation of our entire face and every zoom call, facetime, and snapchat nude is cemented forever in a digital archive, the art of photography becomes removed from the tangible output. Images which resemble the objective attempt to form a kind of mirror of real life, but its capacity to offer a true reflection is stunted by the imposition of the creator. And thus the photographer's task of recording, not only becomes stagnant but impossible. Yet people will forever take the same photo of the Eiffel Tower and post it.

The most interesting component of an endeavour framed as pure documentation is the motivation, the intrinsic impulses which motivate you to take stock of the world. It's not that you believe your photo of the Eiffel Tower is offering something new, this act serves as a personal accomplishment. The motivation of photo taking as a means of being seen by others is now so ingrained, it becomes less something to criticise, rather a sad mechanism inescapable. Escaping the power of perception becomes less of a realistic endeavour, and more a utopian fantasy. For my Mum, the posting of her lunch date to facebook, of course is motivated by external validation, and maybe that's okay.

The photograph's dirtier counterpart; the screenshot, is an image that captures the current display on a computer, phone, or any other digital device. The closest 21st century photography will come to a real recording. They offer a snapshot of the exact visual information shown on the screen at a specific time. My camera roll currently stores 7,967 images and videos, and off those, 2,229 are screenshots. Most of them are instagram stories of boys I wish I looked like, an array of kate moss portraits sprinkled among tinder profiles, whatsapp messages from my old boss, art i like and don't like, the throughline is the true nothingness. A sheer wasteland of media I feel no need to revisit. My motivation is always to hold a record of the fleeting, gripping tightly to a feeling, to a thought, to an idea which deserves to span longer than the 24 hours of an instagram story, or the 10 seconds of a snapchat photo. Yet this bank of gbs, is all but a vacant library with no demand.

Someone referred to me over text as ‘Kitten’. I initially found it sweet, but of course aware of its potential for cringe. Once screenshotted, as all images do, the objective becomes so removed from the moment. I shared it with a friend, and we mocked the words, only becoming embarrassing once solidified in a digital archive. See exchanges of a ‘kitten’ or ‘bunny’ or even ‘send your cock’ are less about the words and more the act of sharing something. Yet a screenshot, a film negative, a photobooth strip, a school picture, a feature in Vogue's best dressed list, offers only an implied reality. One which shape shifts depending on your preferred view, or theirs. Photos not only become venues for altered truths, but they encourage misinformation. For someone to understand a moment of a photograph, a distorted context becomes the convenient option.

Reflections on subculture—an archive of what I subscribe to

No one doesn’t know what 5-letter word Courtney Love screamed in 1994, it’s this understanding that gives us that extra edge when we add Malibu to our April playlists. A quiet rebellion, which only satisfies the girls who wanna be Chloe Sevigny, forced to bear all that is Vincent Gallo. Of course, they say such things in the comfort of their $50,000 yearly budget. Okay maybe not all of them get their monthly transfers, that’s only Billi, and she definitely hasn’t seen The Brown Bunny. It's the other ones, the girls who taped a print of Tracey Emin's My Bed to their bedroom wall, or better, posted it on their Tumblr. The ones who read all of Lena Dunham's book recommendations but would kill themselves if they looked like her. They smoke esse menthol cigarettes pretending to be self-aware of their obsession with looking like Kate Moss, yet no preface guises the naivety of each inhale. They order, click, and press play. They don't sing but say too much, with a strain on all the wrong vowels. They uber everywhere, usually scouting another defaced shopfront for their next shoot. The model’s a skinny Russian girl with eyes set too far apart, wearing a distressed Cop Copine off-the-shoulder tank and a Pleats Please skirt. They have their own label assigning themselves too many titles; stylist, creative director, casting agent, photographer, but they see writing as their main occupation. Of course only picking up a pen once a year. It’s at this point they become less one of the girls and align more with a collective identification, Girl. Girl is disinterested but hyper-aware. She hates a lot of things but reminds herself of the power of post irony, so she never quite out rules anything. Except for the Marc Jacobs tote bag. Girl hates the word esoteric and refuses to follow anyone using archive as a descriptor. She remains untarnished yet swallowed in logos. Girl cannot describe but knows so innately why Addison Rae’s transition from ‘normie’ to PC music alumni is genuine, and why Camila Cabello will never collab with Arca. It's not that they know of Arca. Or want Tabi ballet flats. Or hate Sally Rooney. That's all a given. It's a more potent substance. A subtle scoff at the Heaven by Marc Jacobs couch. An unfollow, unliking, unsaving, probably something of Devon Lee Carlson. It's the decline to virtually attend the Diesel show, the one they were never invited to. They are hardly invited anywhere. But they've met Troye Sivan once and done 2 unpaid e-commerce shoots.

See Girl is friends with a 30-year-old photographer, who attends and works and is looked at. By friend I mean they track each other's digital personas over a story like, and transactional comment on a Corrine Day inspired self portrait. It's not the film stock or the shake she rehearsed in front of her tripod, it's the lack of caption on the post that asserts the most. Indescribable but the photographer notices. Girl has seen his cock on Twitter and entertains the idea of unhiding her folder of nudes in her camera roll. Now here's where the term girl materialises in its most relevant form, one that discerns not penis or vagina, but that's been pushed forever. The way Girl inserts itself between the racks of dead stock Anna Sui and stacks of FRUiTS magazine is a complete rejection of the impossible-to-objectify, ultra-inclusive definition of womanhood, which makes everyone feel seen and valued and stimulated. These girls once subscribed to such wokeness, but now reside more comfortably centre left. Of course remaining a pendulum, swinging which way looks hottest. Something about a Balenciaga city bag and the cadence of a ‘faggot’ fit too well together.

Girl is definite, you’re either in or out. It can’t be spelled out but seen from across the street. A substance not thick but dense. It's a spray of Fantasy by Britney Spears. A rerun of America's Next Top Model. Girl is Jenna Lyons’ Ssense wishlist, but only the products now out of stock printed alphabetically on a miniskirt. It’s An iPhone 5s, space grey with no SIM card. It’s concrete and full of preservatives. Demure, and certainly not fat. Girl is an invisible invitation to the hottest club, with a bouncer not unlike the one in the virtual Berghain simulator. It's not that they get in, it's just they wouldn't care if they did. But don't get it wrong, they do know how to brag. Vanity is the basis of all decision-making, it's their acceptance of this that entertains an intellectual hierarchy, one that doesn't quite place Girl at the top, it's that Girl decides who's on the bottom. It's about becoming a gatekeeper. An innate belief system that realises one's importance. Maybe less realises, and they more decide that their perspective matters. Yet Girl doesn't have original thought. I don't mean to say her contribution is stagnant, it's just Girl’s craft is in her meticulous regurgitation. A curatorial processing of outdated media and pop culture iconography. Girl is a certain grounded vanity. Synthetic vulnerability. A calculated spontaneity. It’s a performance when no one is looking. It becomes less about trying to discern Girl from the girls as we step into the task of being noticed by one. Be warned however. Girl infiltrates the subconscious on a level so uselessly intricate. Is that a Walkman or an upside-down Mowalola logo? Is her listening to Prism by Katy Perry post-ironic or just embarrassing?

Real Presences — George Steiner

The Presence of Art: Steiner's argument that true understanding of art requires the presence of a transcendent reality can lead to reflections on the nature of interpretation and the role of the divine or spiritual in experiencing art.

Critique of Postmodernism: Steiner criticizes the detachment and irony of postmodernism, advocating for a more earnest engagement with art. Reflecting on this might involve considering the value of sincerity and depth in contemporary culture.

Language and Meaning: Steiner’s emphasis on the power of language to convey deep meaning encourages reflection on the limitations and possibilities of linguistic expression in art and literature.

Cultural Transmission: The book discusses how cultural and artistic traditions are transmitted through generations. Reflecting on this could involve considering the ways in which contemporary culture maintains or breaks away from historical traditions.

Ways of Seeing — John Berger

Challenging Traditional Art Criticism: Berger's work encourages viewers to question traditional art historical narratives and the power structures behind them. Reflecting on this might involve considering how art is presented and whose perspectives are prioritized.

The Male Gaze: Berger’s analysis of how women are depicted in art can lead to reflections on gender dynamics in visual culture and how these depictions influence societal attitudes toward women.

Consumer Society: Berger connects art to consumerism, suggesting that modern advertising uses similar techniques to classical art to sell products. Reflecting on this might involve examining how art and advertising shape desires and values in contemporary society.

Seeing and Believing: Berger’s exploration of the act of seeing itself encourages reflections on how our perceptions are conditioned by cultural and personal factors, leading to a deeper understanding of subjectivity in visual experiences.

Illuminations: Essays and Reflections — Walter Benjamin

Aura of Art: Benjamin’s concept of the “aura” of artworks and its loss in the age of mechanical reproduction can lead to reflections on how digital technologies have further transformed our experience of art and authenticity.

The Work of Art in the Age of Mechanical Reproduction: This essay in particular prompts reflections on how mass production changes the value and accessibility of art, and how this democratization impacts cultural hierarchies.

History and Progress: Benjamin’s reflections on history, particularly his critique of the idea of progress, encourage considerations of how history is written and the role of memory in shaping our understanding of the past.

Storytelling and Experience: His thoughts on the art of storytelling highlight the communal and experiential aspects of narrative, prompting reflections on how modern media forms are reshaping the ways we share and interpret stories.

Reflections on Dot Comme—the retail experience

Dress meets Body Body meets Dress

Pink and concrete and white on white and silver intersecting rods and vinyl sticker letters on glass. It’s not the objective of the dot COMME store which is the problem—or rather the key—it’s the invisible which penetrates the deepest. Hidden beneath the racks of Issey Miyake and overpriced Beauty Beast, visible only to those who are in it. And you’re certainly not. It’s not the ambient music playing, but the volume, so low every laughter is a gunshot, puncturing your chance of being a part of their group. The girl at the desk doesn’t care that you’re stupid, she’s on her phone offering a glance every few minutes, not to perceive you but as a signaling of her role. A commitment to the act. Cause she’s not really a shopkeeper, and you’re not really a customer.

Opened in march of 2016, by a fashion collector by the name of Octavius La Rosa, the Dot COMME store sits on level 3 of Curtain House on Swanston. The vintage store, offers a curation of Yohji Yamamoto, Junya Watanabe, Walter Van Berendock and of course, its appropriated name sake, COMME des GARCONS. Nestled between the playful PAM store and Metropolis bookstore, before entering the brightly lit showroom, one must take a deep breath. Or maybe just me, for when I enter the shop, the shedding of my true personality must ensue, and the deepening of my voice has the best chance of resembling my natural cadence. It’s not an intentional code-switching, out of fear of sounding gay like I often do with men, here everyone is gay, especially when they’re straight! While sifting through unflattering cuts of bottoms, ambiguously long neither shorts or pants, I become increasingly aware of how I am being perceived. the cadence of my walk, the length of each step, the way in which I look at the clothes, the way I stare at them, I used to only flicked through them on the rack, but i now pull them out, that way it looks less like they are foreign to me and like I can afford it.

Except affording it becomes the least interesting thing. The way the dot COMME store gets you, is in its complete disinterest in who you are. With a salesperson at the desk scrolling on their phone, and autechre remix of a sophie song softly humming in the background, as the only customer it becomes your job to prove your eligibility.

Trophy Lives: On the Celebrity as an Art Object — Philippa Snow

Philippa Snow's "Trophy Lives: On the Celebrity as an Art Object" offers a provocative exploration of the ways in which celebrity has transformed into a form of art itself. Snow argues that modern celebrities are not just individuals but artifacts of culture, embodying the complexities of fame, identity, and consumerism. This conceptualization invites us to examine the aesthetic and cultural implications of viewing celebrities as art objects.

One of the key insights in Snow's analysis is the idea that celebrities are curated personas, meticulously crafted through media representation and public perception. This aligns with contemporary art's focus on performance and the blurring of boundaries between artist and artwork. By treating celebrities as art objects, we are prompted to question the nature of authenticity and the often performative aspects of identity in our culture.

Snow also highlights the commodification of celebrity, where fame becomes a trophy—a marker of success and desirability. This notion raises important ethical considerations about the way we consume and fetishize celebrity culture. It challenges us to reflect on our complicity in this cycle and to consider the implications of celebrating individuals whose lives are often marked by profound personal struggles.

Furthermore, Snow’s essay situates celebrity within the broader discourse of art and society, urging us to recognize the political and social dimensions of fame. As we navigate a landscape increasingly dominated by celebrity culture, her work encourages us to engage critically with the narratives constructed around these figures and the societal values they reflect.

Ultimately, "Trophy Lives" compels us to rethink our understanding of art and the human experience, positioning celebrity as a lens through which we can explore broader cultural themes. Snow’s analysis serves as a reminder that in an age of relentless media saturation, the intersection of celebrity and art demands our attention and reflection.

Celebrity Culture, Problematic People & Separating Art From The Artist — Francesca Willow

Francesca Willow's "Celebrity Culture, Problematic People & Separating Art From The Artist" tackles the complex relationship between an artist's personal life and their work, particularly in the context of celebrity culture. Willow thoughtfully examines how our admiration for artists can be complicated by their problematic behaviors, prompting important questions about accountability, complicity, and the ethics of consumption.

One of the central points in Willow's analysis is the challenge of separating an artist's art from their personal actions. She argues that while it can be difficult to disentangle the two, doing so can sometimes allow for a more nuanced appreciation of the work itself. This separation doesn't necessarily absolve the artist of their actions, but it encourages critical engagement with the art without dismissing its value outright.

Moreover, Willow emphasizes the impact of celebrity culture on our perceptions of artists. In a landscape where public personas often overshadow their work, the pressure to idolize or condemn becomes even more pronounced. This dynamic can lead to a culture of silence around problematic behavior, as fans grapple with the cognitive dissonance of loving an artist while disapproving of their actions.

Willow's analysis invites us to engage in deeper conversations about accountability in the arts. It encourages us to reflect on our own values as consumers and the ways in which we support or challenge problematic figures in the creative industry. Ultimately, her work highlights the need for a critical yet compassionate approach, one that recognizes the complexities of human behavior while celebrating the transformative power of art. This discussion is particularly relevant in today's cultural climate, where calls for accountability are becoming increasingly urgent.

Notes on Camp — Susan Sontag

Susan Sontag's "Notes on 'Camp'" is a pivotal text that explores the aesthetics of camp, illuminating its significance in art and culture. Sontag defines camp as an appreciation of the exaggerated, the absurd, and the theatrical, challenging conventional notions of taste and beauty.

One of the key importances of her analysis is how it elevates marginalized expressions—particularly those associated with LGBTQ+ culture—by framing them as legitimate art forms. Camp celebrates irony and playfulness, allowing artists to subvert dominant narratives and societal norms. This perspective encourages a more inclusive understanding of artistic value, broadening the definition of what can be considered "art."

Moreover, Sontag's work highlights the interplay between sincerity and irony, urging us to embrace contradictions in art. This duality enriches our experience, inviting deeper engagement with both the content and context of a work. In a world increasingly defined by binary thinking, camp provides a space for ambiguity and complexity, making it a vital lens for contemporary art criticism.

Ultimately, Sontag's exploration of camp encourages us to reconsider our judgments about taste, pushing us to appreciate art that challenges the status quo and embraces the unconventional. Her insights remain relevant today, reminding us that art is a reflection of cultural values and a site for resistance and reinvention.

Slavoj Žižek