How to do Kim Kardashian beehive updo
And the bottom grins forever
French photographer Jean-Paul Goude quotes himself and drives the internet crazy: thoughts on Kim Kardashian's butt
The appealing thing about free text here is that terms and images are thrown at you at irregular intervals. Some you drop, some you catch.
What does someone do with it when they hold something that has been caught in their hands and look at it? What we see looks at usis the name of an essay by Georges Didi-Huberman. And so it is with Kim Kardashian's buttocks: We want to evade his omnipresence - but he keeps grinning from the magazines forever.
The most recent photo of Kim Kardashian's butt is in the American onePaper Magazine and from there it has spread millions of times over social networks. The whole of Kim Kardashian is also attached to this part of the body - but it is this butt that is styled up to the object of media discourse.
Not only Kim, J-Lo also showed off, in the recent pop presence Miley Cyrus, Nicki Minaj and this whole happy dance group that has now come together again for twerking.
Twerking isn't all that new, you've seen it in hip-hop videos since the nineties, and supposedly its movements come from a form of African dance where you turn your back to the audience, bend over, and booty shaket.
If one goes back further in the search for image analogies, one could also think of the foolish morris dance in the carnival of the Middle Ages with its exalted torsions of the body - but also the dances still practiced in the Brazilian carnival.
The Renaissance painter Hieronymus Bosch also has a myriad of butts on display - Mooning you might call it today -: so diverse, imaginative and funny that a keyword search on the Internet is visually worth the effort.
And the Metropolitan Museum recently tweeted a photo of a 6,000-year-old ceramic statue from the late Neolithic in response to Kim Kardashian: “Steatopygous female figure„.
The anatomical drawings and caricatures, in turn, which show the South African Sarah Baartman, which were published in London and Paris at the beginning of the 19th century under the nameHottentot Venus have been shown speak exactly the same language as Kim Kardashian's current cover.
The same posture - posing sideways, stretching your buttocks up, arching your back - can also be found in the recordings of the dancer Josephine Baker from the twenties and thirties, which are known asBlack Venus in the banana skirt consciously used these exotic and wild attitudes and dance movements in her revues.
In Kim Kardashian's reenactment of these original images, further elements and codes are mixed: This also reminds of the look and facial expressions of the American pin-ups of the 1950s. The black gloves, the updo and the pearl jewelry belong to an icon of the 1960s: Audrey Hepburn as a New York bohemian girl inBreakfast at Tiffany’s.
The skin-tight, shiny, lacquered, extra-long dress is one that honored the cartoon character Jessica Rabbit. "I'm not bad - I'm just so marked," she is supposed to have said once. I'm not bad, I'm just so photoshopped, Kim might want to tell us.
The French photographer Jean-Paul Goude did this for himselfPaper Magazine provided. He shot Kim Kardashian with his camera and then stretched, padded and bent her in Photoshop. Jean-Paul Goude has been working with the technique of image montage since the sixties and he has already cut and friemelt pictures of women when Photoshop did not exist: Image processing has probably been around since there were pictures - and in it different biological values apply. physical laws than in reality.
A body, smooth and shiny from baby oil, the waistline shrunk, breasts and buttocks pumped up. The images of the female buttocks currently in circulation could owe their presence to a number of very diverse influences: the ban on images of American puritanism (Adam Soboczynski speaks of "defense, rigor of tolerance and finally exploding excitement" in this regard in ZEIT No. 30/2012), the the butt is less rigorously censored compared to the primary gender characteristics; the stock of formulas for a certain pornographic aesthetic of grotesque overemphasis; bodybuilding culture and elements of dance; also a new self-confidence of Hispanics and Afro-Americans, which in turn is being adopted as a pose by the mainstream.
What else is there in this picture of Kim Kardashian? In her hands the overflowing bottle of champagne, the alcoholic ejaculate of which splashes in a kind of triumphal arch over Kim's head into the glass that she balances on her bum. That means: She must have shaken the bottle to be suitable for a party, she must have opened it, she pours into the glass that is presented on her like on a side table. Does she drink it herself? Or who will drink this glass afterwards?
In 1976, when Goude joined the esquire worked as an art director and was in a relationship with Grace Jones, he also shot a photo of an unknown lady named Carolina Beaumont. She poses sideways to the camera, the champagne bubbles in her hands, the glass she carries on her bum is filled with it. The same picture as in 2014 with Kim Kardashian, only then stark naked.
Grace Jones ’album cover that has become a pop iconIsland Life from 1985, also a picture from the hands of Jean-Paul Goude, shows her as a figurine made of ebony: in an impossible pose, which, however, suggests the illusion of feasibility through acrobatics, aerobics and extreme yoga. Another, partly comparable staging by the same photographer can be found at Naomi Campbell with Marc Jacobs forHarper’s Bazaar in the year 2007.
There is an aesthetic of physical exaltation that Jean-Paul Goude repeatedly quotes and brings out as a pose over the decades of his career. He tinkers with the imagination of the Femme sauvage - contrasted by their imprisonment in the cage or by the dressing and make-up. The constructivist, geometrical bodies in Oskar Schlemmer's Bauhaus ballet from the twenties are processed here, as are the cut, newly glued bodies in the Dada collages from around the same time.
In the eighties, when images like those created by Goude shaped the pop world and the glossy magazines were at their highest circulation, a reference to the imagery of the technology-loving twenties can be found again and again: as a homage - ironic, playful, materialistic.
The fact that in his current work in 2014 Goude again refers to the seventies and eighties, to this quote from the quote, has lost the appeal of the playful. Rather, it can be assumed that the current pictures of him and other of his colleagues illustrate a nostalgia: the longing for a time when print was still undisputed as the medium of renewal and reproduction. "Break the internet“Is therefore only consistently used as a header in the title of the current onePaper magazines with Kim K. as cover girl.
Thepaper Incidentally, in its 30-year history has also provided more suitable visages: La Roux, Sarah Silverman or Beth Ditto looked at us. If that doesn't suit you either, you should go straight to Maurizio CattelansToilet Paper Magazine.
The links in the text are provided by the editorial team.
categorySociety & Politics
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