Katrin Thomas, Exits - Tapa dura

Sinopsis

Texts by Iké Udé and Michelle Nicol. 1999. 126 S. Mit zahlr., auch farb. Abb., gebundene Ausgabe mit Schutzumschlag. Ein gutes und sauberes Exemplar. - As the popularity of fashion as a worthy cultural phenomenal grows in learned circles, so the role of fashion photography will progress from a mere decorative medium to a demanding one with a critical framework that can enable us to see beyond our glamorized decorum. Fashion is nol only contagious, it is also worth catching, regardless of cultural, religious or gender homogeneity. Perhaps playing, for instance, with the homogeneous trope and stereotype of what it means to be Asian, female and probably Buddhist, Thomas photographed a young Asian girl in two frames (p. 108/109). In one frame, dressed in a Maoesque revolutionary white suit against a background horizontally banded in green, white and black, this young girl sits leaning on a white table, her back slightly bent with anxiety, peering in enigmatic contemplation at hei white plate of food. Clearly, Kate Moss, not the Buddha, is the icon of faith and salvation in this picture: faith in self-starvation, salvation in thinness. The charged symbolic analogies of sanitation and purity, anorexia and thinness, bulimia and ambivalence, fashion and body, culture and nature bear witness to the collective psychological damage we are suffering from. As if to drive her point home, Thomas` second frame freezes her subject`s evident expression of mea culpa.

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